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‘THE UNIVERSITY 
OF ILLINOIS 
LIBRARY 


O i r 4 — : 
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G56. 





Return this book on or before the 
Latest Date stamped below. 


University of Illinois Library 














ART IN EVERY DAY LIFE 


THE MACMILLAN COMPANY 


NEW YORK * BOSTON + CHICAGO + DALLAS 
ATLANTA + SAN FRANCISCO 


MACMILLAN & CoO., Limrtrep 


LONDON + BOMBAY *+ CALCUTTA 
MELBOURNE 


THE MACMILLAN CO. OF CANADA, Lop. 
TORONTO 


ART IN EVERY DAY LIFE 


By 


HARRIET GOLDSTEIN 


ASSOCIATE PROFESSOR OF ART, 
DIVISION OF HOME ECONOMICS, UNIVERSITY OF MINNESOTA 


AND 


VETTA GOLDSTEIN 


INSTRUCTOR IN ART, DIVISION OF HOME ECONOMICS 
UNIVERSITY OF MINNESOTA 


New York 
THE MACMILLAN COMPANY 
1925 


All rights reserved 


Copyrieut, 1925 
By THE MACMILLAN COMPANY 


Set up and electrotyped Published September, 1925 


PRINTED IN THE UNITED STATES OF AMERICA BY 
THE BERWICK & SMITH CO, 


TO 
MILDRED WEIGLEY 








PREFACE 


The object of this book is to show the principles of art as they 
are seen in familiar works of art, and as they : are related to every 
day problems, such as house design and decoration, store decora- 
tion, costume design, advertising, and city planning. In each of 
these fields one works with sizes, shapes, colors, and textures, which 
must be selected and arranged in accordance with principles of 
beauty. These principles are fully explained, and they are applied 
in so many various fields that even the person without native 
ability can learn to apply them to any problem. 

A significant feature of the book is the profusion of illustrations 
—hboth photographs and drawings—which clearly demonstrate 
the main points of the text. These are so fully described in the » 
etic it is possible quickly to review the facts contained in 
the book by studying the illustrations. 

The first part of the book is devoted to an explanation of the 
principles of art. The illustrations in these chapters are from the 
fields of fine arts, from exterior and interior design, costume design, 
and from business. They should help one to solve the simplest 
as well as the most complicated problems. 

The chapters on color explain, simply and clearly, the two most 
commonly used color systems,—the Prang and the Munsell. Color 
knowledge is applied to the solution of problems in the fields of 
homemaking and business, and the reader is given sound reasons 
for making color selections and arrangements. 

A chapter called How to Make a Design explains and illustrates 
a very simple method of working out designs for different purposes. 

In another chapter, a typical art problem has been analyzed, 
in order to point out the factors which the reader should consider 
in making designs, or making purchases which he hopes to enjoy 
over a long period. 

Under Dress Design, suggestions are given for planning costumes, 
which, in color and design will be economical, beautiful, and be- 
coming to different types of people. Historic, rather than modern 
costumes have been chosen to illustrate the principles of art in 

Vil 


ae 
Preface 





clothing design, because of the danger of confusing fashion with 
beauty in the styles that are seen every day. A simple method 
of drawing a lay figure is explained, and fully diagramed. Four 
figures are reproduced, which are large enough to trace for use in 
designing costumes. These are drawn according to the proportions 
of the average woman’s figure, the fashion figure, and the average 
high school girl. . 

The material on Interior Design, which includes chapters on 
Flower Arrangement and Picture Selection and Arrangement, deals 
with the meaning of design and with the selection and arrangement 
of house furnishings. These chapters show the difference between 
the expressions of formality and informality; between the social 
and the domestic spirit in art; and the difference between mascu- 
line, feminine, and impersonal qualities in design. An important 
part of this section is Making the Best of One’s Possessions, where 
attention is given to problems of rearrangement and elimination. 
The photographs of interiors show a variation of materials ranging 
from the simplest to the more costly, and emphasizes the fact 
that the individuality and charm of a room do not depend upon the 
cost of one’s belongings, but upon the beauty of their form, color, 
and texture, and the way in which they are arranged. 

It is highly desirable that the reader should think of the illus- 
trations merely as groups containing sizes, shapes, and colors, ar- 
ranged to show a principle or an idea, and to translate the objects 
themselves into his own belongings. In this way, the store decora- 
tor, for example, will find suggestions in the material which ap- 
plies directly to homemaking, while the general reader may gain 
ideas from all the fields. 

The very close interrelation of the zsthetic and the practical- 
in this work should serve to increase the reader’s enjoyment of 
art, and at the same time enable him to bring beauty into his 
surroundings. ~The book is planned to serve as a text-book for- 
students of art, of home economics, and of salesmanship, and it 
is hoped that it may be a helpful reference book for salesmen, store 
decorators, advertisers, and homemakers. 

Acknowledgment is made to many authors and teachers whose 
work has unconsciously molded the thoughts and the experiences 
of the writers: to Finch, Van Slyck, and McConville, who, through 
vill 


Preface 


their advertising manager, Mr. C. E. Lawrence, gave permission 
to reprint material and illustrations from Art Principles in Selling 
(prepared by Harriet Goldstein for the advertising service of 
“The Finch Merchant’s Advertiser’s Club’’); to those who gener- 
ously permitted the photographing of their homes and their pos- 
sessions, as well as to those who have allowed the reproduction of 
photographs, and advertisements; to the students and the home- 
makers whose discussions of the photographs helped us to select 
the pictures which would be most helpful to others. The authors 
wish especially to express their appreciation to the friends who 
read the manuscript during its preparation, and gave much valu- 
able criticism. 

H. G. 
St. Paun, MINN. V. G. 
JULY, 1925 


1X 


feat 


15, 
pe hb 





TABLE OF CONTENTS 


CHAPTER PAGE 


I. THE IMPORTANCE OF GOOD TASTE........ 
II. STRUCTURAL AND DECORATIVE DESIGN... 


Definition.—Requirements of good structural and 
decorative design.—Application to thehouse, to furni- 
ture, to dress.—Summary. 


Ree Ce UV LOVIN GY wae eaten ee hoe i caBad est ara se Er 
Definition.—Aspects of harmony.—Harmony in 
pictorial .composition.—Harmonious shapes: opposi- 
tion, repetition, contradiction, transition—Applica- 
tion to the hanging of curtains, to house design, to 
planting, to arrangements, to interior design, to table 
setting, to dress design, to alteration in the appearance 
of shapes, to decoration for dress, to hair dressing, to 
store arrangements, to advertising, to writing a letter 
and addressing an envelope.—Harmonious or con- 
sistent sizes—Harmony of textures.—Harmony of 
ideas: application to exterior design, to interior de- 
sign, to window design, to decorative design.—Sum- 
mary. 


PEED CV TC LUPIN Game es fos pce ee ee seuh eheet ay  bac 
Definition.—Aspects of proportion.—Space _rela- 
tionships: the Greek oblong; how to divide a space.— 
Lines which apparently alter proportions: applica- 
tion to exterior design, to interior design, to dress.— 
Scale, or consistent sizes: application to exterior de- 

sign, to interior design, to dress.—Summary. 


ER Meee eC WU ch NIG fx Ag Biel ae chia ws 4: ee 
Definition.—How to balance objects.—Occult or 
informal balance.—Balance in pictorial composi- 
tion.—Applications to decorative design, to, exterior 
design, to advertising—How to develop a sense of 
balance.—Balancing window displays.—Balance in 

interior design.—Balance in dress.—Summary. 

ct 


Table of Contents . 








CHAPTER PAGE 


VI. RAYTHM.....3. 2902 Was eee, 115 
Definition.—Radiation.—How to gain rhythm.— 
Rhythm through repetition, through a progression of 
sizes, through a continuous line movement.—Applica- 
tion of rhythm to exterior design, to interior design, to 
dress design, to store windows, to advertising.—Sum- 
mary. 


VIL EMPHASIS. es oes ook ee 141 

Definition.—Simplicity a factor in emphasis.— 

What to emphasize: subordination; law of back- 

grounds.—How to emphasize: placing of objects; use 

of color contrasts, of decoration, of plain space, of un- 

usual lines, shapes, sizes, or colors.—How much to em- 

phasize: applications to exterior design, to planting, 

to interior design, to dress design, to store displays, to 

advertising.—Where to place centers of interest.— 

Summary. 


VIII. HOW TO KNOW COLOR. ied .. 184 

\ The Prang Color System. = Tanemone of ee — 
Hue: definition; classes of color; primary colors, bi- 
nary colors, intermediate colors; popular names for 
colors; how to change hues; warm and cool hues; ad- 
vancing and receding hues; seasonal hues; effect of 
different hues; hue summarized.—Value: definition; 
value of normal colors; how to change values; tints 
and shades; effect of black, white, and gray; close 
and contrasting values; value summarized.—Inten- 
sity or chroma: how to determine complementary 
colors; how to change intensity (complementary 
colors); how to make colors appear more or less in- 
tense; intensity an indication of taste; summary of 
intensity.—Prang color notation; texture as it influ- 
ences color.—Color properties summarized.—The 
Munsell color system: the color sphere; hue; value; 
chroma; Munsell color notation. 


ak IX. HOW TO. USE) GOLOR. 3 ee ee 204 
Balance in color: the law of color areas; balancing 
bright and dull colors, balancing light and dark 
xi 


Table of Contents 








CHAPTER PAGE 


colors, balancing warm and cool colors; complemen- 
tary colors; “‘crossing”’ or repetition.—Proportion 
in color.—Rhythm in color—Emphasis in color.— 
Harmony in color: background colors; color combi- 
nations; keyed color; keying through neutralizing, 
through mixing, through glazing, through tying, 
through texture.—Sources for color harmonies.— 
Related color harmonies: one hue; analogous.— 
Contrasting color harmonies: complementary; double 
complementary; split complementary; triads; pri- 
mary, binary, intermediate; how to use contrasting 
colors.—Summary. 


X. SOLVING AN ART PROBLEM.........05..%. 921 
Ke HOW STOUMAKE A IDESIGNee auhee ote yc, pes 207 


The designing process as a form of organization.— 
Factors involved in the making of a design.—The 
analysis of the making of a design.—Character, or 
“decorative quality.” —Steps in designing a room.— 
Steps in designing a costume.—How to mount a pic- 
ture: the Law of Margins; the Law of Optics —How 


to letter. 
XII. DRESS DESIGN. Parr I. STANDARDS FOR 
HM DGING TA’ COSTUME as. oth ase ae) 251 


/Msthetic requirements for dress.—Suitability to 
the individual.—Factors in personality—Planning 
a wardrobe.—Requirements for health and mod- 
esty.—Art as an economic factor in dress. 


XIII. DRESS DESIGN. Part IJ. HOW TO PLAN A 
Be ee oe en! EN. cutee te o ble”ae chads th oe ee 258 
Selection of the material: texture; pattern; 
color.—Selection of the design: the structural de- 
sign; the decorative design. 


XIV. DRESS DESIGN. Parr III. ADJUNCTS OF 


Hats.—Hair dressing.—Shoes. —Hosiery.—Sum- 
mary. 
X11 


Table of Contents 


CHAPTER 


PAGE 


XV. DRESS DESIGN. Parr IV. TABLE OF SUG- 


GESTIONS FOR. PERSONS WHO HAVE 
UNUSUAL PROBLEMS IN DRESS......... 

The stout figure——The thin figure.—Narrow 
shoulders.—Broad_ shoulders.—Round shoulders. 
—Large bust.—Flat chest.—Large hips.—Large 
waist and hips.—Long waist, slender figure.— 
Short waist.—Long neck.—Short neck.—Large 
face.—Small face.—Square face.—Round face.— 
Narrow, pointed face.—Retrousé nose.—Promi- 
nent nose.—Prominent chin and jaw.—Receding 
chin and small jaw.—Prominent forehead.—Low 
forehead.—Sharp, angular features.—Large fea- 
tures.—Glasses. 


XVI. DRESS DESIGN. Part V. COLOR IN 


Design principles applied to color in dress: bal- 
ance; rhythm; proportion; emphasis; harmony.— 
Color for individual types.—Factors influencing 
color choices: light effects; textures; age of the per- 
son; size of the person; personality; complexion.— 
Effect of values upon the coloring of the individ- 
ual.—Effect of intensity upon the coloring of the 
individual.—How to emphasize color through the 
use of contrasting and related colors.—How to sub- 
due color.—Types of complexion: the cool type; 
the warm type; the intermediate type.—Colors for 
the intermediate type, for the cool type, for the 
warm type.—Complexion difficulties to overcome: 
to subdue yellow in the skin; to force color in the 
cheeks; to subdue color:in the cheeks; to force the 
color of the eyes; to force the color of the hair; to 
subdue the color of the hair; to relieve monotony in 
coloring of hair and skin.—Colors for people with 
gray hair.—Colors generally becoming.—Colors 
generally unbecoming.—Summary. 


XVII. DRESS DESIGN. Parr VI. HUMAN PRO- 


PORTIONS AND FIGURE CONSTRUCTION. 


The head the unit of measurement.—Average 


Q74 


285 


302 


proportions.—Method of determining an individ- ~ 


X1V 


CHAPTER 


XVIII. 


XIX. 


XX. 


XXI. 


XXII. 


XXIII. 





ual’s proportions.—Proportions of the woman’s fig- 
ure.—How to draw a front view lay figure-—How 
to draw a front view dress form.—How to draw a 
back view dress form.—How to draw a three-quar- 
ter view dress form.—How to draw a three-quarter 
view lay figure. 


INTERIOR DESIGN. Parr I. PERSONAL- 
ITY EXPRESSED THROUGH CHOICES..... 
Choices as an expression of personal character- 
istics.—Masculine, feminine, and impersonal fur- 
nishings.—Domestic and social qualities. 


INTERIOR DESIGN. Part Il. THE ROOMS 
OETA HONE TTC HOUS Hie wade” meme ten 
The hall.—The living room: furniture arrange- 
ment; the importance of accessories; the arrange- 
ment of books; walls and ceilings; woodwork; floors 
and rugs; window draperies, the hanging of drap- 
eries; glass curtains; lighting; lamps; furniture.— 
The dining room.—The bedroom. 


INTERIOR DESIGN. Part HI. MAKING 
THE BEST OF ONE’S POSSESSIONS...... 


INTERIOR DESIGN. Part IV. SELECTION 
AND ARRANGEMENT OF PICTURES..... 
The appeal of a picture.-—The composition of a 
picture.—Pattern, line, and color in pictures.— 
The suitability of the picture to the room.—Pic- 
tures in relation to the background of a room.— 
How to frame a picture.—How to hang pictures.— 
How to judge picture arrangements.—Substitutes 
for pictures. 


INTERIOR DESIGN. Part V. FLOWER AR- 
EAN Gs DEEN (Linen si toate Ages SGI wa aden e kw 
Beauty of line and color in flowers.—Color com- 
binations.—Selection of vases.—Placing the bou- 
quet.—The arrangement of flowers.—Arrange- 
ments for a dining-room table.— Winter bouquets. 


BRE LG AININUIN Gh mater ek Gh gs lng. sided ed ass os 


Table of Contents 


PAGE 


321 


345 


390 


399 


424 





LIST OF ILLUSTRATIONS 


FIGURE PAGE 


1 A living room which emphasizes the importance of good 

SUS Aa RE peers acer ae ee Sr AB CR, Re RUIN Ook geted 2 he 
2 A living room which shows poor taste................. 
Petr OOd StMICLural CesignMn ayVase. ony, ee Cees 
a= Poor structural design iva. vase. i... 1. Bs Pee. BY 
5 A fly swatter showing inconsistent use of decoration. .... 
6 A vase which is good in structural and decorative design . 
7 A vase which shows consistent decoration.............. 
8 A vase which shows inconsistent decoration............ 
9 A vase which should be used as a decorative object...... 


10 A house showing good structural and good decorative de- 
ST TNae see te, aden tar eteie ont Ae eae eee ee Emre o's NM 


11 A house showing poor structural and poor decorative de- 
SLOTIONK, Ow ama SEA on ctu dat Mie aie ieee: Seager el | 


12 Furniture which shows good structural design........... 
ie An overstufied chair of poor design... 2.262... 
14 Collars showing good and poor design.................. 


15 “The Last Supper’—Leonardo da Vinci. An illustration 
OUT APIN GIN ® Sin he ene ere eee rete EE tT CS 


16 Lines to show opposition, repetition, contradiction, and 
CARIST CTO yt ee ee RS Er aM. 


17 Shapes to show the effect of repetition, contradiction, and 
ERATISIELCT Ee sei eee otal He Aedes boty Oe ON otk, 


18 Curtains showing the use of repetition, contradiction, and 
[REET A CGH)! gear ol Ata ear Mle RIM ane It Ae OR 


19 A doorway which shows the three types of line.......... 
20 Planting about the house to secure transitional lines... . . 
21 Planting the yard to secure harmonious variety......... 
22 A living room which violates the principle of shape har- 


24 A decorative arrangement showing transitional lines used 
Pabarmionize Opposing lines A. 08 is ki ee eas. 2 


Poe oirapenarmony.in table setting »..5 c15...,. dese oe ee 
XVIl 


© C -~3 © © 


10 
12 
13 
14 


16 


ite 
18 
19 
20 


29 


' 23 


Q4 


25 
26 
27 
28 


30 
31 


List of Illustrations 


FIGURE PAGE 
26 A costume showing good structural and good decorative 
CeSIfH Seca) Seu oh ys hh ree en Ac 35 
27 A costume showing poor structural and poor decorative 
GESISTI YJ) OMe ee ae ing al coat oe Lene Se ne S868 36 
28 A costume which lacks shape harmony................ a, 
29 A costume in which variety has been secured through tran- 
sitionall lines Ges see ci incr a oe em vss eae 38 
30 The shape of the face apparently altered by different neck 
lines, 2 Wate tee te ee a? 40 
31 Facial expression altered by hat and neck lines.......... Al 
32 The Venus of Milo—to show shape harmony in hair dress- 
Lrg Oar eS Se UR NERS YE ES a 43 
33 A diagram of the counters in a store showing good and poor 
AITANGemneit. yeti yee ees... ges 44 
34 An advertisement in which oppositional lines are related 
by transitionalhnes: 562.2) 5.25)» ee Os | ea AS 
35 A letter which is well arranged on the sheet............ 46 
36 Addressed envelopes applying and disregarding shape har- 
TOTS Bas 3 Sites RR ea Mee Ak oy, eS eS Se 47 
37 A house which shows inharmonious materials and design. 50 
38 A combination of furniture which lacks harmony........ 51 
39 Two plates which show suitable designs for china decora- 
A10) I OEM reer a... REST 52 
40 A plate showing naturalistic decoration................ oS 
41 A dress with inappropriate decoration:..c:y2.4.......... 54 
AD: "Che Greekpoblon gn iicucsh: cis... «anche 1's 58 
43) Phe Parthenon a) ee An. 59 
44 A modern building of poor proportions................. 59 
45 A Dutch Colonial house well proportioned.............. 60 
46 A Dutch Colonial house badly proportioned............ 61 
47 A diagram showing the Greek ratio of 2:3.............. 62 
48Monotony and Variety spaciig i. eee. 2S ie 62 
49 A handkerchief showing variety in spacing............. 62 
50 A striped fabric in which the spaces are monotonous....... 63 
51 A striped fabric showing repetition and variety in spacing... 64 
52 A collar which shows both repetition and variety in spac- 7 
51 SERRE ECTS Ore LANNE Ss! a a 64 
53 Chairs which show good and poor spacing.............. 65 
54 66 


Dresses showing equal and unequal space divisions. ..... 
| XVlll 


List of Dlustrations 


FIGURE PAGE 


55 A mantel arrangement showing equal heights and spaces. 
56 A rearrangement of the mantel in Fig. 55.............. 
57 A diagram illustrating the principle of grouping objects.. . . 
58 A diagram to show the effect of vertical and horizontal line 

TOV CHICH enemy esi Sate mee eae A ce So) tee 


59 A building showing the effect of vertical line movement. . 
60 A building showing the effect of horizontal line movement. . 
61 A house which is apparently made up of squares........ 


62 A house in which a horizontal movement has overcome the 
APPEATALCe’ OLSON ATCH ess tre Marc tere Laren. Mechta, ler a oy 


63 A thin figure dressed to look thinner and stouter........ 
64 A stout figure dressed to look stouter and thinner....... 
65 An advertisement showing wrong lines for stout women. . 
66 Skirts showing the effect of panels of various widths..... 
Pee NOliee cn Owallo DOO Scaler Gon et le wine. nee eo 


68 Furniture which is monotonous and is out of scale for the 
We) WEA OU ALONE Ue lip. ett ade Arye ai elaken igo Mien, 0 eH Gg at 


69 A group of furniture which is badly scaled.............. 
70 The see-saw used to illustrate balance.................. 
71 “Music”? by Pinturicchio—An illustration of formal bal- 


72 “Saint Genevieve Watching over Paris” by Puvis de 

Chavannes. An illustration of occult balance...... 
73 A Persian design showing bisymmetric balance.......... 
74 An embroidery design which is bisymmetric............. 
75 A Japanese stencil showing occult balance.............. 
76 An embroidery design showing occult balance........... 
77 A Venetian palace showing the grace of occult balance. . . 


78 A Florentine palace showing the dignity of bisymmetric 
DA ATCO ee ET oP he a als wll ae HE, 3S 


79 A house which is balanced bisymmetrically............. 
80 A house which shows occult balance................... 


81 A layout for an advertisement showing a combination of 
Diav ine lri Ane OCcull DalanCcomy wrt) gin its ssa 


82 Two advertisements showing the appropriate use of formal 
Aviat taent) Gey tbarte 6, ae ie LIAL ou ARO ane 


83 A window display showing the simplest bisymmetric bal- 


68 
69 
70 


70 
71 
71 
(2 


73 
TA 
15 
76 
17 
78 


79 
80 
84 


86 


87 
88 
88 
89 
89 
90 


91 
92 
93 


94 


95 


List of Illustrations 





FIGURE PAGE 
84 A window display showing occult balance............. 97 
85 A window display showing several objects in bisymmetric 

balancev keg atc Ae 5 cto es teh anid La 98 
86 A window display showing several objects in occult bal- 

BTC SHE Fek See ASA a oe cee roe a ee Sa 99 
87 A window display which is unbalanced................ 100 
88 A window display showing a combination of bisymmetric 

and, oceultabalance™®,-) 4.0 9:5) eee. che 101 
89 A living room showing furniture well balanced......... 103 
90 Another view of the living room shown in Fig. 89...... 103 
91 Furniture balanced around a fireplace................. 104 
92 A decorative arrangement showing bisymmetric balance. 105 
93 A hall showing the formality of bisymmetric balance.... 106 


94 A decorative arrangement on a desk balanced informally 107 
95 A decorative arrangement on a desk formally balanced.. 108 
96 An arrangement over a bookcase showing a combination 


omtormeal angsiniormalipalance: enn... 109 
97 Costumes showing balance and lack of balance......... 110 
98 Hats showing formal and informal balance and lack of bal- 
ATCO si ..5 a ane ramen ope Wyeth. 8) Ee ROR Et 
99 A dress which is formally balaneced.............5...... 112 
100<A; dress whichis informally balanced)2:. 20)... 113 
101 Rose window—Cathedral di Bari. An illustration of ra- 
Cation rey oh wae al an I) a 116 
102 Brass dish showing radiation........... coh ee LLY 
103 A lace design showing rhythm through repetition....... 118 
104 A lace design showing rhythm through a progression of 
SIZES. s/he pombe lpm a oh: ae a ae 119 
105 Japanese print by Toyokuni—An illustration of rhythmic 
line: mio Vermette eee ee) we 2 120 
106 A lace design showing rhythm through line movement. . 121 
107 A lace design, which)lacksirhythmices © sweet. 121 
108 A lace design showing three types of movement........ 122 
109 A house which shows rhythmic lines.................. 123 
110 A house showing a rhythmic arrangement of doors and 
WINGO WS washing ts eee ee 124 
111 A house which lacks rhythm in the placing of door and 
ETL O WS 6 hes Ss LR ase Te ae tn be 2 125 
Pe Wall paper with diagonal ines eee et ee 128 


XX 


List of Illustrations 


FIGURE PAGE 
113 A rug showing diagonal lines and too much value contrast. 129 
114 A Chippendale chair which lacks rhythm.............. 131 
115 A Chippendale chair showing rhythm................. 131 
116 A Chippendale chair showing excessive movement...... 131 
117 A living room in which the furnishings are arranged 
Ta biog ROWS EUCOEA ipa” Ee nie ah eMarketer ae 132 
118 A and B. Picture arrangements showing rhythm and 
lack of rhythm..... AT PRO dO AR ee ey ORS 134 
119 Aand B. Dresses showing rhythm and lack of rhythm... 135 
Ly Aewinniow display suowing rhythm yo 2 2). ots. ete 3 138 
ieA window display which lacksrhythm. 22.2) ede at: 138 
122 An advertisement in which the line movement is waste- 
UE Peas Sa gc Rican ane a ee tone ort US 139 
123 An advertisement showing good use of line movement.... 140 
124 “Adoration of the Lamb’—by Hubert and Jan Van 
Eyck. An illustration of one main center of interest 
aid, subordinated Centersn. (mores rN Latin ue nu 143 
125 “The Coronation”’ by Giulio Romano—An illustration of 
competing centers of interest..................... 144 
126 ‘Presentation in the Temple” by Rembrandt—Emphasis 
LUPOUsMICONLTAstGL lignbeawdi dark ee; ou. one es: 146 
127 “Giovanna Tornabuoni with Venus and the Graces”’ by 
Botticelli—Emphasis gained through plain back- 
PLOUIG SPACES h Aaa meee er SRR Na. le ot elders 149 
128 Triptych by Giovanni Bellini—Emphasis — secured 
HALES nd aPC HO CTTTELE RIPEN GIEF Eee © tyes BP NS vee Penang, coy ee 150 
129 Door of North Porch—Erechtheum—A standard of em- 
DUasis WeOCCOLPALlOI te ul seme te ey ee os ae 151 
130 The Loggia Del Bigallo after Designs by Andrea 
Orcagna—Richness and reserve in decoration. ..... 152 
131 Detail of Doorway to the Palace of the Duke of Aguas— 
Over-emphasis in-decoration: «4... 2.<s..6. 004 153 
132 A room showing the effect of figured walls............. 160 
133 A room showing the effect of plain walls.............. 161 
134 Household linen showing simple emphasis............. 163 
135 Household linen showing a moderate amount of empha- 
TEE CA AISA oe Me rE Pe St ef 164 
136 Household linen showing over-emphasis............... 165 
137 Underwear with consistent emphasis.................. 166 


XXi 


List of Illustrations 





FIGURE PAGE 
138, Underwear whichis too elaborate. (se. - 44 24:23 167 
139 A and B. Dresses with emphasis well placed and badly 
Dlaced 3%. hee ane Pia creat Ae ieee yO ag 168 
140 ‘‘Lucrezia Panciatchi’”? by Bronzino—Historic costume 
with the main center of interest near the face........ 169 
141 A window display with one main center of interest....... 171 
142 A window display with many objects grouped to form 
cénters of interest: thn its. 1 eee sh cd oe 172 
143 A window display with scattered emphasis.............. 173 
144 Three advertisements showing good emphasis.......... 174 
145 An advertisement showing confusion resulting from over- 
emiphasistass coke ba ok ee 176 
146 An advertisement showing force gained through proper 
CMpiHAsise: pate hr eae ak eS ce rey 
147 A, B, and C. Diagrams showing where to place centers 
of mteresty. fH Ue ee 178 
148 Diagram showing where to place centers of interest..... 178 
149 A and B. Diagrams showing where to place centers of in- 
Terest ie hele CE eee Ly oe ee ee, TENT 179 
150 Diagrams showing where to place centers of interest.... 180 
151 Diagrams showing where to place centers of interest.... 181 
152 Diagrams showing where to place centers of interest.... 182 
153: Diagram ‘showing:the primary colors. eeeeere. oe 186 
154 Diagram showing the primary and binary colors.. Pte ake 
155): The Prang color-chartay ye), 4 ee facing 188 
156 A. Color chart showing relative strength of spectrum 
colors with three steps in intensity........... facing 190 
156 Bi. Neutral scale of valiies 2.0 ees. facing 190 
156 C. Spectrum colors with tints and shades........ facing 190 
156 D. The effect of black, gray, and white upon color.facing 190 
1570 Miunsellcolor sphere. .c.. 2: oe, facing 200 
158 A dining room for which a rug is chosen............... 222 
159 A rug with good pattern and Colorieemeyee ty. ... ee Mes 
160 A, B, C, D, and E. The analysis of the making of a de- 

. SIQTAR Foi dew oc den Lae he ee ee, eae 252 
160 FE. Blue and white towel.* > 5 Senter ee ee 223 
161 The analysis of an embroidery design................. 234 
162° Runner with naturalistic: blue birds eieemee es eee 235 


XX 


List of Dlustrations 








FIGURE PAGE 
163 A textile design which shows character................ 236 
164 An embroidered hanging possessing decorative quality... 237 
165 Diagrams to illustrate the Law of Margins............ 239 
166 A picture mounted without regard for the Law of Optics. . 239 
167 A vertical picture incorrectly mounted................ 240 
168 A vertical picture correctly mounted.................. Q41 
169 A horizontal picture incorrectly mounted.............. 242 
170 A horizontal picture correctly mounted............... 243 
ii) A sduare picture correctly mounted... 050525000. 4... 244 
oe lour ty picalsstens: in letterin gia uate, | aided ese lie Stn ae 246 
Pom vseiiiplesireesnancialphabelsnvn- wiry leiden tn ness aac tad Q47 
ae Cruidesines fOr lercerinst mentiaets ly othe wet ee A 249 
175 Historic costume showing good structural and good deco- 

TH ULV. CES 1ST cee ree ie PI cet AT, ood Abate. 2 256 
176 Dress material with a good surface pattern............ 261 
Pine nbecoming HatsrotL Ode | audaa tie sy bie tien rs ai Al! 269 
178 Color plate showing types of complexions and standard 

COlOTAHALIMOUIES serene Gos a bale AN Cede em, ret facing 292 
179 A table of standard proportions for a woman’s figure. .... 307 
PadeA method ol.drawing aclayetigure... wee) see tne 2 308-309 
181 The lengths and widths of the woman’s figure. Scale— 

one inch equaling one head length ........... facing 310 
182 Front view lay figure measuring seven and one-half head 

PETIT a etait cre ate BON etal Lee ote 1s AN facing 310 
183 Lay figure measuring eight head lengths. .......... facing 310 


184 Lay figure measuring six and three-fourths head lengths 
facing 310 


5 


185 Method of drawing a front view dress form............ 313 
186 Method of drawing a back view dress form............ 313 
187 Method of drawing a three-quarter view dress form..... 314 
188 Method of drawing a three-quarter view lay figure... .. a Le) 
189 Three-quarter view lay figure measuring seven and one- 
MA NeACT CU Ste ters stro See Mate soci eae facing 318 
190 A woman’s bedroom which is domestic in spirit........ 324 
191 A woman’s bedroom which is social in spirit........... oo 
Pepe RP MATIC At ira CGI Mert en ere he eee as deals 326 
TEN TEED Corre ON) Uae” eS ae ee One Ah S27 
Pee Naeetiiie MedroOulmre cis. eet ace cs Aces othe ve 328 


List of Illustrations 





FIGURE PAGE 


195° A“ gnest:roonn.,e eis Gate ee ee ee et eee 329 
196 A small house which is domestic..................... 330 
1977 Avdomestic: living ro0m)) 4.) eee ee 331 
198-A\domesticilivins oom). 6 arene ee oak 
199 The dining end of the living room in Fig. 198.......... 333 
200 A large house which shows a domestic influence........ 334 
201 Social expression in exterior design..%)..0...........: Oso 
202 A formal breakfast room, social in spirit............... 336 
203 A simple breakfast room, social in spirit............... 337 
204 A social living room showing poor taste.............. 338 
205 Social and domestic qualities in a living room.......... 339 
206 Social and domestic qualities in a living room.......... 340 
207 A house which shows a lack of imagination............ 341 
208 An wnimaginative bedroom: aan 342 
209 A living room which is unimaginative................. 343 
210 The hall, an expression of the house.................. 346 
211 A simple arrangement for a small hall................. 347 
212. Homeliké quality nia Irvin os room. ees 348 
213 Grouping furniture for convenience................... 349 
O14-(The/arratigement of sb00ks., .4a.. 6 ee, ny oo 1 
215 Wall paper showing a good surface pattern............ 355 
216 A and B. Drapery material which suggests a woman’s 
TOOT. (Ne pe aero Oe. oe 357 


217 Aand B. Drapery material which suggests a man’s room. .358 
218 A and B. Drapery material which suggests a man’s bed- 


TOOT fo) ce ak nt ene te eS 2. eae 359 
219 Aand B. The effect of folds upon the design of fabrics. ... 360 
220 Drapery material suitable for a large, social room....... 361 


221 Aand B. Drapery material suitable for a domestic room.. 362 
222 A and B. Drapery material which is impersonal in type... 363 
223 Drapery material which suggests the atmosphere of a tea 


TOODY: 500005. 00 be SR a Et clic 364 
224 Drapery material which lacks character............... 365 
225 A combination living and sleeping room............... 370 
996 A: dining room showing poor tastesmas ae ac... ae S12 
OoeAsrestiul dining oom. , Aja, eee ee). ee By fe 
298-\ dining room suggesting formalijyes ae ees oon 375 


XX1V 


List of Illustrations 





FIGURE PAGE 


229 A domestic dining room, somewhat formal............ 376 
Semen mestic CIN TODM wh hes 6p Se eee eae ce! att 
Pema CCN TOO nak eyes ls ce  ) la Sea al 378 
METI COVERY ys fo ck ste eee anew en ae Ae igess! 379 
233 A bedroom in which too much pattern is used.......... 383 
234 A bedroom with pattern well distributed.............. 384 
235 A bedroom with unmatched furniture................. 385 
236 Another view of the bedroom in Fig. 235.............. 385 
MMABG 1G) GS TOOM scat dh sino: Sa ees beets ie ha sr ome OS 387 
238 An overcrowded dining room showing poor taste....... 390 
239 A rearrangement of the dining room in Fig. 238........ 391 
240 A dining room showing misuse of decoration........... 392 
mame rearrangement of Figs 240... sees cee ene) Be en 393 
eae A study table and a radiator treatment..,...2........ 394 
Pee SCHILD TOOK eis ay ee wat ae Nr ds Ok Weta eae laa! 395 
944 A club room which lacks individuality... ./........... 396 
245 “The Virgin and Child,” by Pinturicchio—Emphasizing 

DB UGCPD Ee es Ree og ss ee en at ee oo ale 400 
246 Japanese Print by Toyokuni—Emphasizing pattern..... 401 
247 “London Bridge,’ by Whistler—Emphasizing line...... 402 
248 “The Shepherdess,” by Millet—Emphasizing line...... 403 
249 “Mrs. Robinson,” by Gainsborough—Social in spirit..... 404 
250 “Beatrice D’Este,” by Ambrogio di Predis—Formal in 

Cll een ere ecu anak hc eee anh Senate Cans Alea lt 405 
251 A domestic picture suitably and unsuitably framed... ... 407 


252 “Flower Study’ by Rhea Wells—A decorative treatment. 408 
253 “Erasmus,” by Hans Holbein—Masculine and domestic 


Hi, TRA ator UG ELEC td ALAIN an ok ACE RC ROL ALAR RIT Se ena EN 409 
254 “The Lady in Yellow,” by Holbein the Elder—A well 

Bette LC PUT Aiea bey ete inn Oh ee By eh A ae 411 
Baoan overcrowded mantel... 0. a. ee ee ee ae 412 
256 Rearrangement of the mantel in Fig. 255.............. 413 
257 A picture hung to group with furniture............... 414 
258 A mirror used as a substitute for a picture............. ALS 
259 A picture hung without regard to line movement....... 416 
Peenewrvurein Hig, 259 rehung. 2... ee ALT 
261 Pictures which are poorly chosen and badly hung...... 418 
262 A consistent group of pictures well hung.............. 419 


XXV 


List of Illustrations By 





FIGURE PAGE 
963: A textile used ‘as a ‘wall hanging... ea 421 
264 A Persian print suitable for a wall hanging............ 422 
265 Flower arrangement emphasizing line................. 425 
266 A formal flower arrangement....... FANG Ae) J SB: 426 
267 lowers arranged ini annass, eee eens 7, rie. ae 427 
268 Vase and bouquet showing inharmonious textures...... 428 
269 Vase and bouquet showing harmonious textures........ 429 
270 A vase showing too much emphasis.,................: 430 
271 Flowers against figured wall paper.................... 431 
272+ Elowersiagainst) a: plain backeroulam meee... ee 432 
273 Short stemmed flowers in a low bowl.................. 433 
274 Short stemmed flowers in a high vase................. 434 
275 Long stemmed flowers in a ‘high vase............... . 435 
276 Long stemmed flowers in a low bowl.................. 435 
277 A bouquet showing uninteresting spacing.............. 436 
278 A bouquet showing variety in spacing................. 437 
279 °A-well balanced*bouduet.<.). + — teen rete «ts 438 
280 "Anim balancedsbouquetl an... <e sateen CURE. wis. Wet 439 
281 A rhythmic arrangement of Howers..3. 2 ....---.-. 440 
O8eeTherplacing OlnOWers ern. 2: oiler etary Oo <- + 2k cin 441 
238° Plant ofthe city of. Washington sae > soe ee 4A5 
084-54 ‘monotonous row 01 HOUSES: -on eerie: se 448 
285 A block of houses showing harmonious variety......... 449 


XXVi1 


ART IN EVERY DAY LIFE 





ART IN EVERY DAY LIFE 


CHAPTER I 
THE IMPORTANCE OF GOOD TASTE 


When beauty is expressed in our surroundings, it becomes 
a part of our life and our personality. It is not a thing to 
be set apart for occasional enjoyment, but should be sought 
in everything we do, and in everything we select. Beauty 
is not determined by the cést, but by the quality of the 
objects which are chosen. People who like the effect of 
richness should know how to appreciate the restraint that 
marks the difference between the rich and the gaudy, while 
those who like simple things should realize that there is a 
point where plainness becomes monotonous and unimagi- 
native. Training will show where merely a variation in 
proportions, or the addition of some simple note of contrast 
will result in a quality and beauty which might otherwise 
_ be lacking. 

Good. taste, in the field of art, is the application of the prin- 
ciples of design to the problems in life where appearance as 
well as utility is a consideration. This includes the selection 
and the arrangement of all our belongings—our communal 
as well as our personal possessions. For the sake of economy 
as well as beauty it is of the greatest importance that every 
individual should understand and apply these principles 
of art. Since the appearance of the things which we acquire 
causes us to enjoy some of them permanently whereas 
others give us no pleasure, it is at once a responsibility and 
an advantage to be able to judge eta ane (See 
Figs. 1 and 2.) 

1 


Art in Every Day Life 





The idea_is all too prevalent that artis.decoration and 
that an object must be ornamented if it is to have “art 
quality.” This idea must be abandoned before a person 
can have a true appreciation of art. The person who has 








Fig. 1.—This room would help to establish good standards of beauty for a family 
and would be enjoyed permanently, for it shows the application of the principles 
of order and beauty. Observe how the fine quality of the well-proportioned fire- 
place, the picture, and the other furnishings of the room are brought into relief by 
the simplicity of the walls and the rug. | 


/ this appreciation gains perfect satisfaction from an object 

which is undecorated if it is beautiful in shape and color. 
\ When decoration is used it should be simple. Over-decora- 
tion is one of the worst of faults. 

Taste is molded, to a very large extent, by the things 
which surround one, and the family taste is trained by the 
objects selected by the homemaker. There is, therefore, 
a distinct obligation in the home to set the highest possible 

Q 





co hel te hie tl 


The Importance of Good Taste 


‘standards of beauty. This is becoming widely recognized, 
and there is an ever growing demand for information which 
will help people to become more intelligent consumers. 
Since art is involved in most of the objects which are seen 





Fia. 2.—This room gives one a sense of confusion. It shows poor taste in the 
selection and the arrangement of the furniture and the decorative objects. Such 
a room would have a bad influence upon the people who might live in it, for it 
would tend to dull their sense of beauty. 


and used every day, one of the great needs of the consumer 
is a knowledge of the principles which are fundamental 
to good taste. It has been said that good taste is doing 
unconsciously the right thing, at the right time, in the right 
way. Unfortunately, very few people are born with this 
ft, but it is comforting to know that with study one 
can consciously apply the principles, until/ the wished-for 
time is reached when the right thing is done unconsciously. 
3 





Art in Every Day Life 


Too often it is thought that art means drawing and paint- 
ing only, and the fact that pictures are but one of many 
kinds of art expression is often overlooked. “I’m no artist. 
I can’t even draw a straight line.” How many times that 
has been said! As a matter of fact the man who can draw 
the straightest line may not have a particle of artistic ability, 
and the one who can not draw may be an artist in one of the 
best senses of the word. The woman who selects beautiful 
furnishings for her home or the clerk who chooses the right 


hat and dress for a customer has done a piece of work that 


calls for much the same kind of knowledge as the man who 
designs and paints a picture. These are all questions of art, 
or design, and the only real difference is in the materials 
used. This is easily recognized when the meaning of design 
is clearly defined. 

/ Design ws the selecting and arranging of materials, with 
\two avms,—order and beauty. One man uses an ordinary 
piece of canvas and some paints, and people cross continents 
to see his picture; another man starts out with the same 
materials and the result is a worthless daub. What is the 
difference? It is just the difference in the qualities of order 
and beauty. Similarly, one milliner will take buckram, 
silk, and a flower or two, and produce a “‘creation”’; another, 
who has the same technical ability in dbnstructing a hat, 
but no appreciation of design, will take the same materials 
and produce an ugly hat. 

This interest m order and beauty is not confined to the 
artist. For instance, one may say that he is not really 
concerned with art, because he never intends to make a 
hat, a dress, or a table. This may be true, but he is likely 
to select ‘such things and perhaps help some one else select 
them; and after they are purchased they have to be related 
to other things. Solving these problems of purchasing and 
arranging requires the same knowledge of the principles of 
art as goes into the creation of objects. The original idea, 

a 


The Importance of Good Taste 


and the actual process of making are all that the purchaser 
does not have to supply. 

How much would it mean to everyone who selects articles 
of clothing and home furnishings to be able to do so accord- 
ing to the right principles, so that he will be satisfied to live 
with these things until they are actually worn out. Home- 
makers, who are planning to furnish their homes, or to re- 
arrange those already furnished are anxious to have an art 
basis for the selection of the new things. Women wish to 
know what colors and styles are becoming or, unbecoming; 
salesmen want to tell people confidently, with reasons, that 
certain patterns and colors in wall papers, draperies or rugs 
are good or bad, where particular colors and patterns are 
good, and how they should be combined. All such problems 
-eall for good taste and can be solved by the application of 
five fundamental art principles to the structure of objects 
and their decoration. These principles, which can be used 
as a measuring -stick to judge taste are: (1) harmony, 
(2) stella sa balance, (4). rh ythm, and (5) emphasis, | 


CHAPTER II 
STRUCTURAL AND DECORATIVE DESIGN 


Historic art shows that a good design has an enduring 4 
~ quality and will outlast the mode of the hour. The person 
who is interested in economy as well as in beauty, therefore, , 
should learn to recognize good design. 

Design is any arrangement of lines, shapes, and colors. 
It involves the problem of choosing these shapes and colors, 
and then of arranging them. A good design shows an orderly 
arrangement of the materials used, and, in addition, beauty } 
in the finished product. There are principles and standards 
for good design, and there are methods which -if- followed 
will assist the worker in securing a well organized design. 

Definition of structural and decorative design. There are 
two kinds of design—structural and decorative. Structural 
design is the design made by the-size and shape of an object, 
whether rt be the object itself or a drawing of that object worked 
out on paper. The color and texture of the object are also 
a part of the structural design. Decorative design is the 
surface enrichment of a structural design. Any lines, colors, © 
or materials which have been applied to a structural design 
for the purpose of adding a richer quality to it constitute 
its decorative design. Structural design is far more impor- 
tant than decorative design because it is essential to every | 
object, while decoration is the “luxury” of design. 

Requirements of a good structural design. Vf an object is 
intended for use the requirements of its structural design 
are: 

(1) That it be suited to its purpose in addition to being 
beautiful. 

6 


Structural and Decorative Design 


(2) That it be simple. 
(3) That it be well proportioned. 
(4) That it be suited to the material of which it is made 








Fic. 3.—This vase illustrates structural design which is good because it has 
pleasing proportions, simplicity of line, and is suitable for its use. 


and to the processes which will be followed in making it. 
Only when the designer has fulfilled all these requirements 
may he ask if the shape, the color, and the texture have 
given enough interest.to the object, or if there is a sense 
of barrenness which needs to be relieved. The vase in Fig. 
3 is an example of a structural design in which the shape, 
color, arid texture of the pottery give so much interest that 
7 


Art in Every Day Life 








one does not feel the need for decoration. There is fine 
dignity in a structural design which is so beautiful that 





Fria. 4.—This vase shows a structural design which is poor because its propor- 
tions are ugly, its lines are erratic, and it is not suited to its purpose of holding 
flowers. 


. 


there is no desire for added decoration.Y Fig. 4 shows a bad 
structural design. This vase is ugly in shape, and no amount — 
of good decoration would help it. It not only lacks beauty, 
but it is not useful as a flower container; its curves ere — 
exaggerated and its proportions are poor. A compariscn 
of these two vases emphasizes good structure as the first 
requirement of any object if it is to give lasting satisfaction. 
8 





Structural and Decorative Design 





The decorative design or enrichment of an object should va 
be consistent with its use. To illustrate this,—it would 


silat 
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i 


Kteeeneee. 


eka 


ghassaceoe: 


BS 


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e 
; 
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e 
i 
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Fic. 5.—Since the decoration of an object should be consistent with its use, a 
fly swatter decorated with wool flowers is manifestly absurd. 


seem suitable to have a line of color painted on a dust pan, 

but a design with flowers would be out of keeping with the. 

service which the dust pan is to render. The height of 

incongruity is seen in Fig. 5, where a fly-swatter has been 
9 


Art in Every Day Life 


decorated with wool flowers. These two examples represent 
the wrong type of decoration for objects ‘which are to be 
used for very humble purposes. 





oe Ss 

Fic. 6.—CHINESE Vase. (Courtesy of the Minneapolis Institute of Arts.) 

Structural and decorative design with the emphasis where it should be,—on the 
structure. The decoration does not call the interest away from the structure, but 
supplements and enhances it. 

Requirements of a good decorative design. Having decided 
that the object is worthy of decoration, and that its struc- 
tural design is simple and beautiful, the designer plans his 
decoration. No matter what his problem may be—whether 
it is the decoration of a vase, a costume, a room, or a chair— 
his design should fulfill all the following considerations: 

10 | 


eo 


Structural and Decorative Design 





(1) The decoration should be used in moderation. 

(2) The placing of the decorative design should help 
to strengthen the shape of the object. 

(3) The decoration should be placed at structural points. 

(4) There should be enough background space to give 
an effect of simplicity and dignity to the design. 

(5) Surface patterns should cover the surface quietly. 

(6) The background shapes should be as carefully studied 
and as beautiful as the patterns placed against them. 

(7) The decoration should be suitable for the material 
and for the service it must give. 

The Chinese vase, Fig. 6, is an example of good decorative 
design on a good structure. The structural design is suit- 
able for a vase; the decoration is assembled into an orderly 
band which divides the vase into interesting spaces, and 
when one studies it he discovers a pleasant variety in the 
details; the design gives an added interest to the whole 
without calling undue attention to itself. 

The designer whose work shows real quality adapts or 
conventionalizes his design to suit the material he is using. 
He does not attempt to deceive by imitating real objects, 
such as flowers and fruit done in wood, clay, or threads, 
but having decided to take a flower or leaf idea as the theme 
of his decoration he alters it to suit: 

(1) The shape of the object. f 

(2) The purpose for which the object will be used. 

(3) The limitations of his material. 

(4) The tools and processes he must use. 

The person who makes an intelligent selection of any 
article needs to have as good a judgment of structural 
design and decorative design as the designer. A comparison 
of the vases in Figs. 7 and 8 will make this point clear. 
Both are intended to hold flowers. Both have good struc- 
tural design. Both designers took the leaf form for their 
theme. There the similarity ends. The man who designed 
the Rookwood vase appreciated the fact that his vase was 

Pe 


Art in Every Day Life 


to be a background for flowers, and for that reason must be 
less conspicuous than the flowers which might be placed 
in it. Next, he studied the shape of his vase to see where 





Fie. 7.—(Courtesy of the Rookwood Company.) 

In this vase the decorative design has been made to give interest to the structure; 
the leaves and stems have been conventionalized and adapted to the pottery, and 
the decoration has been subordinated to the shape of the vase. 


the decoration might be placed in order to enhance that 

shape, and he decided upon a “‘growth point”’ on the vase. 

He believed that decoration should be a part of structure 

and should grow out of it, and not be stuck on. With suit- 

able tools he worked out a leaf and stem idea which would 
12 


Structural and Decorative Design 








make a good pattern against the background of the vase. 
So long as the proportions and shapes in the design were 
pleasing, and the background shapes agreeable he was 





Fic. 8.—The good effect of this structural design has been spoiled by the addition 
of the decoration, which is too naturalistic and too elaborate. 


satisfied. He was not at all concerned about our ability 
to identify his original motif, whether it be a flower, a bud, 
or a leaf; it is adapted to its use, or in other words, conven- 
tionalized, and the result is good. The man who designed 
Fig. 8 has produced an ugly vase because he was interested 
only in imitation and in ostentatious display. The leaves 
have not been conventionalized, or adapted to the decora- 
13 


oe 


Art in Every Day Life | : 








tion of a flat surface, but have been modeled to imitate a — 
cluster of real leaves and then painted in natural colors to 
complete the deception. The designer ignored the struc- 
tural design of his vase and draped his decoration over it, 





Fic. 9—Cutnese, Mirna Porcenatn. (Courtesy of the Victoria and Albert 
Museum.) 

While this Chinese vase is beautiful in its structural and decorative design, it is 
too emphatic to be used as a flower container. It would make a delightful note of 
emphasis in a decorative scheme. 


letting it fall where it would. His decoration is too emphatic 
to make a background for flowers, and besides being un- 
suitable for use it lacks beauty, which, in some cases, is 
‘its own excuse for being.” 

14 





Structural and Decorative Design 





Some things are created for the sake of beauty only, and 
they are not connected in the designer’s mind with practical 
use. A painting illustrates this kind of creation, and if it 
is beautiful in composition and color it may be hung in a 
gallery and enjoyed as an object of quality. However, 
if the same picture were considered for a home it would 
be judged from a different point of view, for then it 
would have to harmonize with the room. We might 
analyze the vase in Fig. 9 in a similar way. / It is rich in 
design, full of color, and has rare beauty in itself. We 
recognize that it will bring a note of beauty into a room if 
it is given the right setting. In selecting an object of this 
kind let us appreciate its beauty as well as its limitations, 
for we must know that this is not the sort of vase that one 
would use to put flowers in. Since it is good in its structural 
design and beautiful in color and in decoration it fulfils the 
requirements of a good design and it does not need to serve 
a practical use. When things are chosen for their beauty» 
alone they must be able to stand the severest tests for art | 
quality, and if they come below the highest standards they | 
should be rejected. 

Structura! and decorative design in buildings. The Greeks 
knew the principle of making structural design more im- 
portant than decoration, and they applied it to everything 
they did. The Parthenon is a typical example of their 
_ dignity and restraint in decoration. (See Fig. 44.) Note 
that when one looks at the Parthenon his first impression 
is of a beautiful structure, and after that the decoration 
comes to his attention. This decoration is not put on with 
a lavish hand, but with a great deal of reserve; and it has 
been placed only on those spaces which have grown out of 
the construction of the building as is seen in the frieze. 
Appreciation of the design of the Parthenon should enable 
one to see the merits of more modest structures. It 
should lead one to recognize that the house in Fig. 10 is a 

15 





Art in Every Day Life 





good design because it “holds together”: the lines of the 
roof appear to tie the house into the grounds, and the parts 
all grow easily and naturally out of the principal mass of 
the building; the decoration, which has been introduced 
by the interesting treatment of the bricks around the doors 
and window-openings, follows the principles of good design 
because it enhances the structure and does not come into 





Fia. 10.—(C. H. Johnston, Architect.) 
Note the fine quality of this structural design and the interesting decoration of 
bricks around the windows and the doorway. 


undue prominence. While this house appears to remain 
in its place, Fig. 11 seems just about to start off for some- 
where else. It is a poor, restless structural design. Its 
parts are too large for the main mass, and the eaves are 
heavy enough for an enormous house. ‘The decorative 
design, picked out in white paint, is so prominent that one 
is more conscious of the decoration than of the structure. 

Design in furniture. There is a steady trend towards 
better quality in furniture design. It is becoming generally 
recognized that furniture must pass the tests of good struc- 
tural and decorative design. Furniture, therefore, must be 
useful and comfortable if it is to serve its purpose well; 
and it should depend for its beauty more upon fine structure 

16 


. 


F. 
] 
x 


- 





Structural and Decorative Design 





than upon decoration. Furniture should be so fine in its 
proportions and in its lines that it shall need very little, if 
any decoration. A group of good pieces has been assembled 
in the corner of the display room shown in Fig. 12. There 
is dignity and satisfaction to the eye when simple designs 
are used. The turning of the legs of the table, which is 
really a part of the structural design, although it adds a 





BI ner nape SS CN Te oa Sate EP LE eae: 


Fig. 11.—Compare this poor structural design and its fussy decoration with the 
charming simplicity of Fig. 10. 


decorative note, has given interesting variety to the group. 
Compare these good structural designs with the chair in 
Fig. 13. In the attempt, possibly, to suggest comfort, the 
designer added bulk, and then put on pretentious decoration 
and upholstery, and the chair became bombastic. 

Structural and decorate design in dress. 'The subject of 
structural and decorative design in dress will be fully dis- 
cussed under the topic of “Shape Harmony” on page 35, 
and illustrated by Figs. 26, 27, 28, and 29. Another illustra- 
tion of design in the field of dress is shown in Fig. 14. These 
two collars are typical of ““What To Do” and “What Not 
To Do” in applied design. Since the lines of the decoration 

17 


Art in Every Day Life 





should conform to the shape of the object or depart from it 
only to a moderate degree, it is readily seen that the upper 
collar is well designed, and that the lower one is not. 
The shapes of the inserts are at variance with the shape of 
the collar and with each other, so that instead of the pleas- 





itt 2 : : 

Fic. 12.—(Courtesy of Wm. A. French & Co., Minneapolis.) 

Simplicity. and utility are outstanding features in the good structural design of 
this furniture. These pieces also illustrate “harmonious sizes.” 


ing effect produced by the upper collar, the result is dis- 
orderly and showy. 

Utility in structural and decorate design. The relation 
of utility to beauty has been emphasized throughout this 
discussion of structural and decorative design, for the 
permanent enjoyment of the objects which one purchases 
depends upon this relationship. A moment’s thought will 
serve to call to mind many familiar cases of the oversight 
of this factor in design. There is the handsome but un- 
comfortable chair; its curves are graceful, and its decoration 
is pleasing to the eye, but the structure is so designed that 

18 


Structural and Decorative Design 


it does not form a good support for the back, and a line of 
decoration, which comes just across the shoulders, causes 
much discomfort. Unlike a vase, a chair may not exist as 
a purely decorative object, and so it is obvious that there is 
no place for an elaborately carved chair back. Among 





Fia. 13.—The structure of this chair is ugly; it is badly proportioned, and the 
decoration is too profuse. 


other objects besides uncomfortable furniture, one recalls 


more than a few pitchers and teapots which look well on 
the shelf, but have handles which hurt the hand, and are 
so designed that they drip when liquid is poured from 
them. 

From these examples, it is seen that utility is a factor 
which is involved in design in general, for the shape of an 
object should first of all suit its purpose, and the decoration 
should not interfere with the use. 

19 


Art in Every Day Life 








Fic. 14.—The requirements of good structural and decorative design have been 
fulfilled in A. B is poor design because there are too many unrelated shapes. 


SumMARY. The illustrations just given have served to 
emphasize the following points, important in the considera- 
tion of structural and decorative design: 

(1) Structural design is the size and shape of an object. The 


structural design should be good in shape and in color, and it should 
be suitable for its use. 


(2) Decorative design is the enrichment of a structural design. 
The decoration should grow out of the structure, and seem to be a 
part of it. 


(3) Conventionalization is the adaptation of a design to its use 
and to the methods employed in producing it. Decorative designs 
. . e 
should be conventionalized. 


(4) There should always be an impression of reserve in decoration. 


20 


4 





CHAPTER III 


HARMONY 


Definition of harmony. Harmony is the fundamental re- 
quirement in any piece of work in which appearance, as well 
as use, has to be considered. It is the most important of all 
the principles of design. Harmony is the art principle which 
produces an impression of unity through the selection and 
arrangement of consistent objects and ideas. When all the 
objects in a group seem to have a strong “‘family resemblance” 
that group illustrates the principle of harmonious. selection, 
‘and when these “friendly” articles are so arranged that 
the leading lines follow the shape of the object on which 
they are placed, harmony has been secured in both selection 
and arrangement. How much likeness should be sought 
and how much variety is appropriate are the questions to 
be decided in any ‘situation. ‘People who itivariably-agree 
with-everything that is said become tiresome, and on the 
other hand, one likes them still less if they persistently 
disagree. One enjoys a certain amount of variation for 
the sake of interest, but for the sake of harmony this varia- 
tion must always stop just short of absolute contradiction 
in any important matter. Similarly, there should be some- 
thing in common among all the large things which are 
to be put together, but the little things which are to be 
used for accent and variety may contrast. The smaller 
the amount of this contrasting note, the stronger the differ- 
ence between the contrasting objects may be. 

The aspects of harmony. In both the fine and applied 
arts the principle of harmony has five aspects. ‘These are 

. 21 


Art in Every Day Life 


harmony of: (1) shape, (2) size, (3) texture, (4) idea, and 
(5) color. 

Harmony in pictorial composition. Leonardo da Vinci's 
great masterpiece, ““The Last Supper” (Fig. 15) is an 
excellent picture in which to study the principle of harmony. 
The picture is a horizontal oblong, and the leading lines 


of the composition carry out the horizontal idea. ‘There are 
) ~ 


da 





ee Ms Se ee ne gi Ge eee: ers ar 


Fig. 15.—Tur Last Supper, by Leonardo da Vinci. (Courtesy of University 
Prints.) 

A masterly example of the principle of harmony. The dominant direction of the 
lines of the picture is horizontal, repeating the shape of the picture. The vertical 
line is introduced to strengthen the arrangement and to suggest dignity. The 
diagonal line gives a note of variety, but it is stopped by the use of the horizontal 
line before it becomes too vigorous. The transitional line of the pediment over the 
doorway is introduced to modify the sudden change, and to give unity. 


enough vertical lines to strengthen the arrangement, to 
add dignity to it, yet not so many as to cause any confusion 
in the mind as to the most important direction in the picture. — 
The diagonal lines of the receding walls are a distinct varia- — 
tion from the quiet horizontal and vertical lines, but they 
stop before the contradiction becomes too marked. Note ; 
how their abruptness has been softened by the use of the — 
curved line of the pediment over the central opening. The ' 
22 M 


Harmony 


use of this easy transitional line rather than the contradic- 
tory line leads the eye surely, but less harshly to the central 
figure. It is through the study of such examples as this 
that designers have come to understand the principles of 
art, and when they are applied to our own problems of 
arrangement there is the same sort of satisfaction as in 
seeing Leonardo’s superb arrangement. 


AeA 


Fig. 16.—The main types of line. A. Opposition. B. Repetition. C. Contra- 
diction. D. and EF. Transition. 


Opposition, repetition, contradiction, and transition in 
lines and shapes. 'The study of “The Last Supper”? showed 
that lines in a design may fall into four main classes: 

(1) Lines which oppose one another. 

(2) Lines which follow or repeat one another. 

(3) Lines which contradict one another. 

(4) Transitional lines, which soften and modify the others. 


When a horizontal and a vertical line come together, as in 
_a right angle or a corner, these lines are in opposition to, 
each other. (Fig. 16A.) Another set of lines drawn within 
that corner, following its lines, shows repetition. Repetition 
gives the simplest kind of harmony. (Fig. 16B.) Strictly 
speaking, any line which cuts across a corner from one op- 
position line to another is a transitional line; but a straight 
line drawn across a corner, as in Fig. 16C is so sudden and 
sharp a connection that it cuts off the corner harshly, and 
that type of line is called contradiction. Transitional line 
in its best sense is an easy, graceful line which leads from 
23 


Art in Every Day Life 


one line or shape to another, giving harmony instead of 
contradiction. If a curved line were drawn across a corner, 
as in Fig. 16D the sharpness of the opposition of the hori- 
zontal and vertical lines would be modified, and that effect 
is “Transition.” Throughout this book the term “Transi- 
tion’’ is used to express a softening, modifying line used to 


eo 
hed 


A B @ 


Fic. 17.—A. Lines which repeat one another create shapes which show perfect 
harmony through uniformity. 8. Lines which contradict one another create 
shapes which form harsh contrasts. C. Transitional or modifying lines create 
shapes which have pleasing variety with unity. 


~~ 


harmonize opposing lines. It will be found that curved 
lines make an easy transition from one straight line to 


another, and when straight lines are used they are made 


less severe when combined with a suggestion of curved 
line. (Fig. 16E.) 

Harmonious SHAPES. A combination of lines results in 
shapes. Applying the principles of Repetition, Contradic- 
tion, and Transition to shapes which are seen in com- 
bination with one another, it will be seen that shapes 
which correspond to one another are in perfect harmony. 
(Fig. 17A.) The most harmonious shape which can be 
put into a rectangle is another rectangle of the same 
proportions, and a circle makes the closest harmony 
within another circle. Lines which oppose or contradict 
each other form shapes which are entirely Jacking in har- 
mony. (Fig. 17B.) Some examples of these contradicting, 

24 





anne 
=>? 
. 


Harmony 


inharmonious shapes are, triangles, and diamond shapes 
within squares, oblongs, and circles. Such combinations 
should be used only where extreme contrasts are desired. 
Transitional lines have a graceful, softening effect, and 
have the power to bring together shapes which might, in 
themselves be inharmonious. (Fig. 17C.) 





Fig. 18.—Shape harmony applied to the hanging of curtains. In A there is 
perfect harmony and the. effect is dignified and restful. In B there is contradiction 
and the shapes which are created are inharmonious. In C the transitional lines 
create shapes which show pleasing variety. 


In Fig. 18 the three types of shape are shown in the way 
the curtains have been hung. In “A” there is shape har- 


_mony, and the lines strengthen the shape of the window. 


This effect is the most desirable because the lines harmonize: 
with the lines of the house, and all the shapes are consistent. 
“B” shows lack of shape harmony, and the queer, unre- 
lated shape that is left after the curtain has been pulled 
back in this fashion has nothing in common with anything 
in a room, and is not beautiful enough in itself to merit 
such undue attention. When it is desired to have the cur- 
tains drawn back it is much better to have a transitional 
line, such as is seen in ‘‘C.” 
25 


Art in Every Day Life 


In the doorway shown in Fig. 19, the three types of shape 
have been successfully combined. Horizontal and vertical 
lines repeat the main lines of the house; the contradictive 
lines of the angle over the doorway are gracefully tempered 





Fic. 19.—This doorway shows the use of the three types of line: that which 
repeats the structure of the house; the line showing the sharp variation of the angle; 
and the curved line which gives a transitional effect. 


Pes a 


by the use of the transitional curve carrying across from 
post to post. This design is restrained, and is varied enough 
in line to hold the interest. 
Transitional lines in planting. In planting about the . 
house, flowers and shrubs may be used to give a transi- 
26 


¥ 


—- oes — 2 ee 


Harmony 





tional line between the vertical lines of the house and the 
horizontal line of the ground. (Fig. 20.) Here the flowers, 
shrubs, and vines have tied the building to the grounds 
so agreeably that it has made the service end of the house 





Fic. 20.—The transitional lines which are created by the vines, shrubs, and 
flowers have served to unify the opposing vertical lines of the house and the hori- 


zontal line of the ground. The simple rough texture of the stucco forms an interest- 


ing background for the pattern of the vines. 


as attractive as the rest of the building. The transitional 

line has been used in the planting around the boundaries 

of the yard and it has given an interesting, informal effect. 

(Fig. 21.) Planting at the edges has made it possible to 
7 


Art in Every Day Life 


have large beds of flowers without sacrificing the fine open 
space of the lawn. The trees have been placed to make the 
grounds and the house appear as a unit, and they add pri- 
vacy by shutting off the view of the houses at the back. 
The variation in the line of the planting has taken away 
the angularity of the lines of an ordinary city lot, and has 





Fic. 21.—Both interest and informality have been secured in this small city lot 
through the use of transitional lines in the planting at the edges of the yard. 


supplied the same type of interest that one ordinarily as- 
sociates only with rolling land. The transition in planting 
has been made gradual by placing the low flowers in front. 
Shape harmony in arrangements. In any arrangement 
where a number of shapes are used there should always 
be an effect of organization, or, in other words, of orderly 
arrangement. If a sense of order is to result, shape harmony * 
; ' 
must be present.— Large objects or masses should be placed -— 
to follow the boundary lines of the enclosing shape and 
only the small objects should vary from the general direc- | 
tions. To give variety, some of the small objects may be — 
placed at slightly varied angles. Too many angles which — 
sharply contradict the leading lines result in confusion 
28 


SS eR 





Harmony 


instead of interesting variety. ‘The two illustrations, Figs. 
22, and 23 show both the application and the violation of 
shape harmony in the furnishing of a room. 

Harmony in interior arrangements. In Fig. 23 there is 
an effect of harmony because the rugs have been placed 
parallel to the walls, the large pieces of furniture are parallel 
with the lines of the room, the curtains hang straight with 
the window frames, and the pictures are hung in an orderly 
manner. Compare the two rooms, and note the changes 
that have been made in Fig. 22 to secure the effect shown 
in Fig. 23. Most of the faults of the arrangement in Fig. 
22 are due to a violation of the principle of shape harmony. 
The diagonal placing of the sofa contradicts the lines of the 
corner and has destroyed the beauty of the oblong of the 
room. Putting it this way has made it necessary to con- 
fuse the lines still further by placing the rug to go with the 
sofa, thus making a helter-skelter lot of shapes on the floor. 
The table also contradicts the lines of the room, and, placed 
as it is, in the middle of the room, seems to block the way, 
and make the room seem crowded. ‘The cushions on the 
sofa do not harmonize in shape and are poorly placed. 

The first suggestion for improvement is to move the table 
up to the end of the room, placing it so that its lines cor- 
respond with the lines of the room, and then to place the 
sofa against the wall. Because these pillows do not look 
well together only one of them should be retained. In this 
case the round one, permitted to go into the shape which it 
naturally takes, rather than flattened out as in Fig. 22, has 
been placed where it is desired for use. It is now possible 
to place the rugs so that their shapes will harmonize with 
each other, and with the room. The curtains are badly 
hung because the shapes that they make, and the shapes 
of the spaces between them, destroy the good lines of the 
windows. The whiteness of the curtains seems in too strong 
contrast with the rather dark walls and furnishings, and, 

29 


Art in Every Day Life 





since this is an upper apartment overlooking the treetops, 
and there is no need to protect the privacy of the room by 
curtains which cover the entire window, only one set of 
curtains need be used. The curtains in Fig. 23 will let more 
light into the dark room, and the colors harmonize with the 





Fic. 22.—This room is poor because everything has been placed in direct viola- 
tion to the laws of shape harmony. 


general color scheme of the room. (If a second pair of 
curtains were desired in this room they should be ecru 
rather than white, and hung straight.) The table cover 
is badly placed, and looks as if it were so placed to “show 
off.” It could advantageously be replaced by a plainer one, 
since many objects are used on a living room table, and 
some of these objects have pattern on them. The table 
cover should be placed parallel to the lines of the table, 
if it is a square, oblong, or oval table, and parallel to the 
lines of the room if the table is round. 

Shape harmony has been quite overlooked in the hanging 
of the pictures in this room, and some of them are badly 
chosen. Let us eliminate first the pictures over the door 
at the extreme left, and over the windows; pictures should 

30 


Harmony 





never be so placed, for they are so high that they cannot 
be seen. The two pictures, the oval and the horizontal 
ones, are not in harmony with the vertical wall space where 
they are hung, and they do not look well together. Further- 
more, a landscape should not be placed in an oval frame, 





Fia. 23.—A re-arrangement of the room in Fig. 22. The large pieces of furniture 
and the curtains have been arranged to harmonize with the shape of the room, and 
the chairs which suggest curves have been used to give transitional lines. The 
pictures are related in size and shape, and have been hung on a line at the bottom 
to harmonize with the line of the sofa. 


for the lines of an oval are not natural or consistent for a 
landscape. The horizontal picture has too light a mat and 
its mount has violated the ‘Law of Margins.” ! These two, 
then, will be discarded. The picture at the right of the 
window is suitable in value and in general type for the room, 
but it is too large for the wall space. It is poorly hung, for 
it is too high, and is hung with one wire which makes a 


1°’The Law of Margins” is explained on page 239. 
ol 


Art in Every Day’ Life 





triangle on the wall, thus introducing a contradictory shape 
which competes with the picture for attention, and which 
carries the eye away from the picture toward the ceiling. 
The four pictures on the right hand wall do not harmonize 
in shape, color, or in the arrangement of the group. The 
very light one should be discarded, and so should the en- 
larged portrait, with its showy frame. This group will be 
discussed again in the chapter on “Picture Selection and 
Arrangement.” Now all the pictures are down, and must 
be rehung. The wall spaces on either side of the windows 
are small, and there are color and pattern in the draperies, 
so that it is best not to have pictures on those walls. Three 
pictures. which have some harmony in size, shape, color, 
value, and idea have been selected, and they are so hung that 
the bottom edges of the pictures follow the line of the sofa. 

Thus far all the objects in the room have been placed so 
that they follow the lines of'the room, and so are in perfect 
harmony. The two chairs have not been lined up with the 
walls, but, for the sake of variety, have taken transitional 
lines. Chairs are movable objects, and it is perfectly rea- 
sonable to place them in this manner, unless they are large, 
severely straight in line, or have a very formal appearance. 
In that case they should be treated with all the formality 
of a large piece of furniture, and placed parallel with the 
lines of the room. 

The formal Italian chairs in Fig. 93 are the sort that 
should be placed to follow the lines of the room, while in 
Fig. 205 the large wing chair in the corner of the room, and 
the chair at the extreme left show the kind of curved line 
chair which may be swung around to form a transitional 
line. Curved line chairs fit into, and agreeably soften the 
angular spaces which are left when a straight line table is 
placed against the back of a davenport. Side chairs which 
have curved lines lead the eye easily toward and away from 
a desk, as seen in Fig. 239. 


Oc} 
32 


Harmony 


Fig. 24 shows the use of the transitional line to harmonize 
the extreme contrast between the high, slender vase, and 
the flat line of the books. It is suggestive of the many things 
that can easily be done in a house to bring charm or interest 





Fig. 24.—In this group the sharply contradicting lines of the vase and books 
have been related by the transitional lines of the tray. 


into what might otherwise be commonplace, or poor, and 
it needs only a working knowledge of the principles of art, 
and not a large expenditure of money. 
- Shape-harmony in table setting. Fig. 25 is an example of 
shape harmony as expressed in the setting of the table for 
33 


i. 
- 


Art in Every Day Life 





a simple meal. The same principle would be followed for 
the most elaborate dinner. Note how the rectangular 
doilies harmonize with the shape of the table. Notice, also, 
how the lower line of napkin and silver, placed an inch from 
the edge, creates a line which is parallel to the line of the 





Fic. 25.—So that order and harmony may be secured among the many objects 
that are used in setting the table, the bottom line of the silver, napkins, and plates 
should be parallel to the edge of the table; and the other appointments should be 
placed to harmonize with either the length or width of the table. 


table; how the napkin has been folded into a rectangular 
shape rather than the triangular shape which is so frequently 
seen; how the placing of the salt and pepper shakers, the 
water glass, the bread and butter plate, and each piece of 


silver harmonizes with one of the dimensions of the table. 


When placing the serving dishes, those which are oblong 

should be placed so that their lines follow the lines of the table. 

When dishes containing food are placed, the table should 

appear balanced at both ends, as well as on both sides of the 

center line. Sometimes the bright color of a dish of jelly 

or relish, placed at one end of the table, will balance a large 
34 


a See ee 


i 
| 


Harmony 





amount of more neutral color in the food at the other end. 
Sparkle, as well as interest, may be added to the effect by 
balancing color at opposite ends of the table. 





Fic. 26.—(Adapted from Giafferi, “‘L’ Histoire du Costume Feminin Francais,” 
Editions Nilsson, Paris. A. Gerbel, New York, distributor.) 

The costumes in Fics. 26 to 29 illustrate types of structural and decorative de- 
signs in dress. In Fia. 26 the silhouette of the medizval costume is in harmony 
with the figure, and the lines of the decoration are in perfect accord with the struc- 
tural lines of the dress. This illustration shows what is meant by the term “con- 
servative dress.” 


Shape harmony in dress design. It should be noted that 
there are two design elements to consider in a dress: 
35 


Art in Every Day Life 


_ (1) The structural design, which includes the silhouette ~ 
~ and the lines within the dress. 
(2) The decorative design. 


Since a dress design in itself is not considered as a complete 


an 


i> 
7 
R 
r 





Fic. 27.—CostumeE or 1914. Here the dress follows the figure too closely to 
give freedom in walking, or to look well. The diamond-shaped medallions show 
absolute lack of shape harmony in relation to the dress, and they are placed without 
any reference to the lines of the structure. , 


unit, but as something to be worn on a human figure, its 

lines should suggest some relationship to the lines of the. 

figure. This means that its outline will follow the form 

closely enough to have something in common with it, yet 
36 





Harmony 


not so closely as to appear immodest or to be uncomfor- 
table. In order that it may suggest the beauty of the figure, 
it should not bulge at unexpected places. Historic costumes 
show that silhouettes fall into three main groups—first, 





a 


Fic. 28.—(Adapted from Giafferi, “‘ L’Histoire du Costume Feminin Francais,” 
Editions Nilsson, Paris. A. Gerbel, New York, Distributor.) 

This silhouette of the late Renaissance is obviously inconsistent with the lines of 
the human figure, and the lines within the dress contradict the silhouette. The 
result is a dress which would appear ridiculous as soon as the mode had passed. 


the natural silhouette as seen in Fig. 26 which is good be- 

cause it harmonizes with the figure; second, the extreme 

silhouette, either following the figure too closely, as in Fig. 
37 


Art in Every Day Life 


27, or opposing it too greatly, as seen in Fig. 28; and third, 
a silhouette which is just between these two extremes, 
showing a variation in the outline but not enough of a change 
from the line of the figure to lack harmony. (Fig. 29.) 





Fic. 29.—(Taken from Giafferi,“ L’ Histoire du Costume Feminin Francais,” 
Editions Nilsson, Paris. Gerbel, New York, distributor.) 

The silhouette and the lines within this dress of the Louis XIII period show the 
effect of transitional lines which neither oppose the figure nor follow it too closely. 


Those interested in dressing economically should pay a 
great deal of attention to shape harmony when buying 
clothes. In looking over old fashion magazines one will see 
that it is not the details of the old dress that look queer 

38 


Harmony 


now, but the general outline or silhouette in relation to the 
figure. This leads one to the conclusion that where the lines 
of the dress are simple, harmonizing with the lines of the 
figure and neither contradicting nor following the figure 
too closely, the result is a dress which can be worn several 
seasons without making the wearer look conspicuous. (Fig. 
26.) 

The lines within the dress, such as the lines created by 
yokes, vests, collars, panels, tucks, and trimming are in-’ 
fluenced very little by fashion. These lines may always 
be so chosen that they will be becoming to the person who 
is to wear the dress, and they should create shapes which 
are beautiful, and in harmony with the lines of the figure, 
the silhouette of the dress, and all the other shapes which 
appear together. In Fig. 26 the lines within the dress show 
perfect harmony. In Fig. 28 there is lack of harmony, and 
Fig. 29 shows the use of the transitional line within the 
dress, as well as in the silhouette. 

-The use of line to alter the appearance of shapes. ‘The use~ 
of any of the three types of line,—repetition, contradiction, 
or transition, has a definite effect upon the appearance of 
the shape against which the lines are placed. This may be 
seen by looking at Fig. 17. The lines in “A,” which repeat 
the enclosing shape have the effect of calling attention to 
its squareness positively. The contradicting lines of “B” 
have called attention to the squareness harshly by the 
extreme contrast of the shapes. ‘‘C” has been made to 
appear less severely square because of the use of the transi- 
tional line. Advantage may be taken of these effects to 
secure changes in the appearance of things one may desire 
apparently to alter where an actual alteration is impossible. 

In order to apply the artist’s methods of using harmo- 
nizing, contradicting, and transitional lines, to the selection 
of collars or yokes for faces of different shapes one must 
remember that: : 

39 


Art in Every Day Life 


(1) If the shape of the collar repeats the shape of the 
face, it emphasizes it. 

(2) If the shape of the collar contradicts the shape of 
the face it also emphasizes it. 





Fra. 30.—To show that the shape of the face may be apparently changed by the 
choice of neck opening. A. Shapes which follow each other are emphasized through 
repetition. 8B. Shapes which are directly contradictory are emphasized by con- 
trast. C. Transitional lines seem to modify each other. 


(3) If the collar takes a transitional line,—that is, a 
shape between the last two which neither repeats nor con- 
tradicts,—it modifies and softens the lines. (Fig. 30.) 

or faces which are too square or too round, the best results 

come from using transitional shapes, such as long ovals 

and long rectangles. A*knowledge of the effect of various 

lines apparently to change proportions is useful here, and 

will lead one to see that square and round faces need a long 

line, obtained by fitting the collar closely against the neck 
40 


7. 
* at PON AMBRE napa 


! 


i 
? 


= 


Harmony 





and carrying down to an oval. This oval may be slightly 
inclined toward a point as it gets farther away from the 
face when the power to contrast becomes less strong. 

A woman whe has a drooping mouth or a weak chin should 
not buy a hat with drooping lines. (Fig. 31.) Similarly, a 
straight severe sailor is poor for a square face. If the face 
is round, one should not emphasize it by a round crown or a 
closely fitted turban, but rather bring a transitional or a 





Fic. 31.—To show that the facial expression may be modified by the choice of 
line in hat and dress. A. Drooping lines exaggerate a drooping mouth through 
repetition of directions. B. Contradicting lines call attention by contrast. C. 
Transitional lines, neither repeating nor contrasting, seem to neutralize. 


broken line into the brim and attempt to secure the softening 
influence of a shadow. 
Shape harmony in the decoration of a dress. Having 
considered shape harmony in relation to the structural 
design of a dress, the next step is to determine where the 
decorative design should be placed, if the dress is to have 
decoration. Since good decorative design always harmo- 
nizes with structure, the placing of the decoration will be 
conditioned by the structural lines which have been de- 
cided upon. Figs. 26 and 175 are examples of well placed 
decoration, while Fig. 27 is poor. The diamond shape 
motifs are out of harmony with the structure of the dress, 
41 


vor \ ~~? 
a ; ) : 
: ia | \ | ‘é 
| = NS ‘ “” 


Art in Every Day Life 





and they have been put at places which have no relation 
to it. One likes to feel that the decoration has grown out 
of the design of the dress and has not been dropped on, as 
it appears to have been on this one. Diamond shapes are 
exceedingly difficult to use in design, because they are re- 
lated to very few structures. One frequently sees them 
very badly used as windows placed in the doors and walls 
of a house, in the corners of curtains, and on household 
Jinens, as well as on clothing. Diamond shapes may 
be used successfully if they are connected by lines strong 
enough to carry the eye along the structure on which they 
are placed, or arranged so close together that they 
form a band, as shown on the sleeve of the dress in 
Fig. 27. 

Shape harmony applied to hairdressing. Looking over the 
pages of historic costume, one smiles and marvels at the 
various ways that woman has found to dress her hair,— 
many ways in which all resemblance to the human head 


has been ignored or contradicted and many others which | 


are perfectly rational, and very beautiful. The head of the 
Venus of Milo may well be taken as a standard by which 
to judge all these other modes. (Fig. 32.) Her hair is 
dressed so that the resulting silhouette is in perfect harmony 
with the shape of her head, and interest has been gained 
through the slight variation at the sides. When one’s 
head is beautifully shaped and the features are regular, 
one can afford to call attention to the outline by wearing 
the hair drawn severely back from the face. Wearing the 
hair drawn rather tightly back from the face, and in a knot 


at the back calls the greatest attention to the shape of the | 
head. It takes a person with regular features to do this | 


successfully. For most women, a style which has a broken 
outline is more becoming, and permits them apparently 
to shorten a high forehead, or to give a broken line around 


a face which is too square or too round. The hair dress | 


42 





Harmony 





which is too large, or is made up of queer puffs all out of 
harmony with the head should be avoided. “ 
Shape harmony in store arrangements. In store arrange- 
ments, if an appearance of unity and of dignity is desired, 
the counters, tables, and display racks should be placed 





é : ® : : | 
Fic. 32.—Tue Venus or Mizo. A beautiful example of shape harmony is seen 
in the way the hair of the Venus has been arranged. 


parallel with the walls, as in Fig. 33 “B” rather than “A,” 
which makes the store look as though it were “moving 
day.” Large objects displayed on tables, ledges, etc., 
should also follow the lines of the building, and, to give 
variety, some of the small objects may be plaged at +» 
slightly different angles. If some of the Smaller” objects 
are placed-so that they create contradicting lines, these 
43 


" 


Art in Every Day Life 


lines may be agreeably softened by the use of transitional 
lines secured through draperies, or by objects which in 
themselves have this kind of line. All that has been said 
about shape harmony in the house carries over directly 
into the problem of arranging a store or a window display. 





Fic. 33.—The oblongs represent the floor plan of a store, showing arrangements 
of counters and tables. In A the principle of shape harmony has been ignored, 
and the result is confusion. In B there is dignity and harmony because the large 
pieces of equipment have been placed with the direction of the walls. 


Shape harmony in advertising. In advertisements and 
show-cards all of the big shapes should take the general 
shape of the enclosing form. In layouts for advertisements 
and posters it is often necessary to group several small 
horizontal oblongs to give the effect of a vertical movement 
to harmonize with a vertical oblong. If circles, triangles, 
or diamond shapes are used they must be recognized as 
violent contrasts and used only where an unusual emphasis 
is desired. Fig. 34 shows how a circle may be related to an 
oblong by means of transitional lines. The elements in this 

+4 


si ae 


Harmony 


illustration were clipped from various advertisements, and 
pasted together for the purpose of illustrating how dis- 





THE SELECTION OF 
MOUNTED JEWELS 


“Vur TRADITIONAL DIGNITY AND EN 
LDURING BEAUTY OF JEWELS SET 


' 
uN 
eS 
a. 


THEM APART FROM OTHER GIFTS 
MOUNTED IN SETTINGS WHOSE 
DELICATE DESIGN AND FINE CRAPO 
MANSHIP NOT ONLY ACCENT THE 
BEAUTY OF THE STONES, BUT ARE 
EXQUISITE IN THEMSELVES, 

THE RLPRESENTATIVES IN 
OUR JEWELRY SECTIONS, WITH 
SUGH KNCDWLEBGE FROM LONG | 
TRAINING AND WIDE EXPERIENCE | 
WILL AID A PERSONAL CHOICE 
FROM THE STANDPOINT OF 
WORTH, AND ASSURE A GIFT 

OF DISTINCTION AnD 

PERMANENT VALUE 


JERVELS 













ek AE AT AER TI TW Rien Yoh yg A I Rae AC me 





f $ 2 a ; i C3 ie : i ae: {3 Be bis Shee a AS i j 


Le. tarot ata a ot ee 


transitional lines. 


Fic. 34.—An advertisement in which dissimilar shapes are related by 


similar shapes could be combined harmoniously. (This 
explains a certain lack of relationship which exists be- 
tween the printed matter and the figure in the circle.) 
Although an advertisement should have a dramatic quality 
in order to catch the attention, there is danger of going too 


ee: 


45 


Art in Every Day Life 





RUMEN 
far in the attempt to do something unusual, and chaos 
results. If the designer remembers that there should always 





Fic. 35.—Whether a letter is typed or written, it will appear most attractive 
if the mass of the writing harmonizes with the shape of the sheet, and if enough 
plain space is left at the bottom of the sheet to give a pleasant effect of balance. 
be a feeling of shape harmony in every layout he will use — 
erratic shapes and lines sparingly, in order that a dramatic — 


rather than a distracting effect may be gained. 
46 





Harmony 


The University Prints 
ll Boyd Street 


Newton, Massachusetts 


The University Prints 


11 Boyd Street 
Newton 


Massachusetts 





B 
Fic. 36.—A and B. The addressing and stamping of the envelope A shows the 


application of shape harmony; in B there is disregard of the principle of orderly 
arrangement. y 


47 


Art in Every Day Life 


Writing a letter and addressing an envelope. ‘The daily 
process of writing a letter and addressing an envelope pre- 
sents a similar art problem. Three art principles are 
called into use: shape harmony, proportion, and balance. 
Proportion, that the writing will not be too large for the 
space it is to occupy; balance, that the block of writing be 
placed high enough so that it does not appear to be falling 
off; and shape harmony, which may be secured by beginning 
each line directly under the line above, and attempting to 
space the words so that the ends of the lines at the rght 
are as nearly in the same vertical line as possible. (See 
Fig. 35.) Compare the two envelopes, Figs. 36A and 36B, 
and it will be readily seen that “A” is the more attractive. 

HaRMONIOUS OR CONSISTENT Sizes. In the chapter on 


*Proportion”’ it will be seen that when sizes which are too. 


different are used together they are inconsistent. The 
aspect of proportion called “scale” is allied to harmony in 
the sense of “harmonious or consistent sizes,’ and it is 
pointed out in the next chapter that the desire for harmony 
should lead small women to avoid wearing large hats or 
furs, and should prevent the placing of large vases or lamps 
on small tables. Since the understanding and the appre- 
ciation of the principle of proportion will take care of har- 
mony of size we may go directly to the consideration of 
harmonious or consistent textures. 

Harmony or Textures. The homemaker, the window 
decorator, and salespeople will be interested in cultivating 


a sense for harmony in texture. So many schemes just. — 


miss being successful because the person who planned them | 


did not recognize that textures which are very coarse have — 


nothing in common with those which are very fine. There 

is, however, a group of textures which occupies a middle 

ground, and which may be used with either the coarser or 

the finer textures. For example, the coarse texture of oak 

suggests sturdiness, and one may use flax rugs, burlap, 
48 


lee : 


ea sy ca vl 


Harmony 





crash, or similar coarse materials with oak furniture; or, 
working up to the middle group it is possible to use tapestry, 
rep, coarse velvets with uncut pile, and cretonnes with 
patterns which are not too fine and dainty. On the other 
hand, the thin, fine silks, velvets, satins, Chinese embroid- 
eries, taffetas, and chintzes with delicate designs are textures 
which are out of harmony with oak but go well with walnut, 
mahogany, and enameled furniture, because of the fine, 
satin-like grain of these woods, and their smooth surface. 
These fine textures have no relationship to the coarse group, 
but they have enough in common with the middle group 
to be introduced when it is desirable to take away from the 
thinness or the ‘‘overdressed”’ effect which may come 
with too much fine texture. An example of a poor texture 
combination sometimes seen in the shops is reed furniture 
upholstered in brocaded velvet. These textures are entirely 
unsuited to each other, and are ridiculous to the person who 
thinks in terms of consistent combinations. A group of well 
related textures is seen in the brick fireplace and its acces- 
sories in Fig. 197. Here the sturdiness of the clock and the 
texture of the brass appear to have something in common 
with the texture of the brick. Brick seems to be related 
to brass, to iron, and to coarse pottery, but not to glass or 
to other similar fine textures. In dress we sometimes see 
textures as inharmonious as gold-lace hats worn with coarse 
wool sweaters, and strings of pearls with rough wool dresses. 
The gold-lace hat and pearls are related, and are harmonious 
in texture with such fabrics as satin, velvet, and fine furs. 
The wool sweater and the wool dress have textures which 
would be in harmony with each other and with felt, rough 
straw, or similar textures. 

Harmony or Ipras: Harmony of ideas in extertor design. 
It is not enough that sizes, shapes, colors, and textures 
should have something in common, but there must be har- 
mony in the ideas which are presented together. We see 

49 


Art in Every Day Life 





this in comparing Figs. 37 and 45. In Fig. 45 all the ele- 
ments seem to be in accord, and they are all suited to the 
idea of a modest, unpretentious home. The badly designed 
house in Fig. 37 is completely lacking in harmony. There 





Fic. 37.—There is lack of harmony in the ideas expressed here. The columns 
are too pretentious to grow out of the crude stone work, and the idea of a classic 
column seems incongruous with this house. Compare with this the simple dignity 
of the well-proportioned columns of Fie. 45. 


is something imposing about the classic orders, and the grace 
and beauty of an Ionic column suggests a temple, an art 
museum, or a beautiful, dignified home in a choice setting. 
It is certainly not in keeping with a house of this type. 
The height of the Roman Ionic column, from which this 
was copied, measures nine and one-half times the diameter 
of the base of the shaft, including the base and the capital. 
This one measures four and one-third times the diameter. 
It is a caricature of a classic column. There is lack of har- 
50 





q 





Harmony 











mony in the size of the huge front window and the small 
house; in the sizes of the big stones, heavy pillars, and upper 
portion of the porch, and the tiny spindles of the balustrade; 
in the textures of the rough stones and the finely modeled 





Fic. 38.—There is lack of consistency between the two chairs shown here. The 
brocaded chair is too ornate for the other chair as well as for the spirit of the room. 


columns; and in the colors of the rather dark house with 
its dark trimmings, and the glaring white of the columns. 
Note the use of the well-proportioned, simple column in 
Hig. 45. There is little danger of erring on the-side-of too 
_great_simplicity= While an Ionic column requires a formal 
and stately setting, a column such as this in Fig. 45 is ap- 
propriate for either the simplest or the finest dwelling. 
Harmony of ideas in house furnishing. Just as all the ele- 


51 


Art in Every Day Life 





~ 





ments in the exterior of the house must agree, so must 
there be harmony in the ideas suggested by the furnishings 
of the house. The things which might appear well in a 
mansion would be distinctly out of place in a cottage. Os- 
tentatious period furniture needs elaborate settings, and it 
is incongruous to try to introduce the Italian or French 





Fic. 39.—(Courtesy of Lenox Incorporated.) 
Here the flower idea has been adapted to the decoration of china and to the use- 
of a plate. 


Renaissance into a small house. The large chair in Fig. 
38, with its brocade and fringe, though not by any megns 
so pretentious as much furniture that we see, is a discordant 
note in the quiet domestic scene indicated by the kettle — 
on the hearth and the cottage chair. Compare this room 
with Fig. 197. Here there are no misfits and no mismatings; 
background, books, furniture, and fireplace belong together 
and to the spirit of the average home. : 
Harmony of ideas for window designs. A window display 
of men’s shirts and bolts of madras has unity of idea be- 
cause one easily and with interest follows, in imagination, 
the process of manufacture. An equally well arranged — 
window displaying men’s shirts, kitchen ranges, and picture _ 
52 


Harmony 





frames would be a poor display. A striking example of 
inconsistent ideas was once seen in a window display of 
overalls combined with bouquets of roses tied with tulle 
bows. 

Harmony in the treatment of a decoratwe motif. Another 
very important application of harmony of ideas appears 


ES 





Sas 


Fia. 40.—This design is too naturalistic to be used on china. 


in the treatment of the decorations for clothing and for 
many of the things used in the home. A beautiful bunch 
of grapes makes a definite appeal when it is seen in a fruit 
‘store, but the imitation of it, done with all the accuracy of 
the skilled craftsman, is positively distasteful when one sees 
it embroidered on a dress, or painted on a plate to be used 
for meals; where it stares out from a wall paper with hun- 
dreds of companions when we like to have the walls flat and 
restful, or where it appears on a sofa cushion which we might 
turn upside down to rest against. The law of harmony of 
ideas will direct one to conventionalize a bunch of grapes, 
or any other théme borrowed from nature, before employing 
it as a feature in weaving, embroidery, or the decoration 
53 


Art in Every Day Life 


of china, or any other practical purpose. Designs should 
not suggest the fruit store or the florist, but involve simply 
a group of beautiful and well arranged masses, not incon- 
sistent with the use to which the object is to be put. 








Fic. 41.—Imitations of natural flowers, fruits, or birds are not suitable on wear- 
ing apparel or on objects for household use. This naturalistic vine with grapes is 
quite out of place on a dress. Compare with this the consistent decoration used 
on the sleeves of the garment in Fia. 175. 


In the group of plates, Figs. 39 and 40, we have illustra- 
tions of the right and the wrong use of the floral idea. In 


Fig. 40 the decoration is merely a picture of a bouquet in 


no way connected with the plate which it is meant to adorn 
either in placing or treatment. Fig. 39 shows another ex- 


ample of the floral idea, but the flower forms have been 


changed to fit the shape and the use of the plate. Fig. 41 


shows a naturalistic grape design trailing over a dress, with — 


54 


Harmony 





the leaves and grapes appearing as they would if climbing 
over a trellis. This violates the rule of correct dress design, 
that the main lines of the decoration should accord with 
the main lines of the dress, and the detail be conventionalized. 
Now regard Fig. 175 in which some form from nature may 
be assumed as the inspiration of the embroidery, and see 
how much more effective this treatment is. 

It should be understood that it is not necessary to have 
an association of ideas in order to have harmony. It is 
possible to carry association of ideas so far that it becomes 
ridiculous, as when cheese dishes are decorated with cheese 
and mice; honey jars shaped like bee-hives (with a bee for 
the handle), and towels and luncheon cloths embroidered 
with cups and saucers. In fact designs which avoid the 
suggestion of an obvious relationship are all the better for 
articles intended for use. 

Harmony oF Cotor. Color harmony, the fifth aspect 
of the subject of harmony, is considered in the chapter on 
“How To Use Color.” 

SumMARY. In order to fix the principle of harmony 
firmly in mind, it would be well to collect additional illus- 
trations and to make experiments showing consistent 
shapes, sizes, textures, and ideas. 

The tests of harmony which should be applied to all 
work are: 


1. Have the objects themselves anything in common in 
a. Size 
b. Shape 
ce. Texture 
d. Idea 
e. Color 


2. Are the decorations ‘on these articles suited to 
a. The materials from which they are made 
b. The purpose for which the objects are to be used? 


x 


3. Is the decoration more prominent than the object which it 


55 a 


Art in Every Day Life 


decorates or does it show restraint and Fetnement, strengthening and 
beautifying the structure? 


4. Have the large masses been placed so that they follow, rather 
than contradict, the shape which encloses. them? 


5. Have the smaller masses taken transitional lines rather than 
contradictory lines? 


One becomes so accustomed to the things done and seen 


constantly that it is much easier to recognize other people’s — 
mistakes than one’s own. For this reason, it is suggested 


that the reader at first analyze and criticise, constructively, 
the things all about him; then, with a sharpened vision, 
and with definite convictions he will be able to pass sound 
judgment on his own selections and arrangements. 


56 


SOA nM SS he Ss ae 





















CHAPTER IV 
PROPORTION 


Aspects of proportion. Proportion is the “Law of Relation- 
ships.” ‘There are three practical problems in proportion 
which confront us in everyday tasks. These are: 


(1) How to achieve arrangements which will hold the 
interest. | 

(2) How to make the best of given sizes and shapes. | 

(3) How to judge what sizes may be shies anlDN grouped 
together. 


There are definite means by which to solve these prob- 
lems: 


(1.) In order to achieve arrangements which will hold 
the interest one must know how to create pos space 
relationships. 

(2.) In order to make the best of given sizes ee shapes 
one must be able to produce a semblance of change in appear- 
ance, if it is desirable. 

(3.) In order to judge what sizes may be grouped to- 
gether successfully, it 1s necessary to BreeP the underlying ~ 
significance of scale. | 


~ 


How to hold the interest through space relationships. How 
long will a row of pickets in a fence or the ticking of a clock 
hold the interest? Obviously, only an instant. But intro- 
duce an element a little bit out of the ordinary, as an un- 
usual gate or the striking of a clock, and one’s interest is 
stimulated. If an arrangement is built on the plan of three 
squares the mind will record those squares without a pause 
as it did the pickets on the fence and the eye will not be 
arrested. But suppose two squares were used with an 
oblong, or two oblongs with a square, one would have to 

57 


Art in Every Day Life 





look an instant longer before that picture was recorded, 
and in that instant he would actually perceive that group 
more clearly than the one composed of three squares. Here 
then, one is on the heels of an answer to the question of 
how to arouse the interest. 

Every time two or more things are put together propor- 
tions are established which must be either good or bad. 


3 
SS I, ee 


Fic. 42.—The Greek oblong, which is a standard of good proportion. The 
sides are in the relation of two parts to three. 


Some people have an instinct for good proportion and what- 
ever combinations they plan are sure to please the eye, 
but most people have to acquire this trait; and fortunately 
it is one that can be acquired. The best method is to adopt 
a standard, and then by comparing the results of experi- 
ments with that standard one will soon arrive at the point 
of having a true “feeling” for fine space relationships. ( 

The Greek oblong,—the standard for good proportion. The 
ancient Greeks, after years of beauty worship, arrived at 
the point where nearly everything they made exhibited 


good spacing. The oblong which they used as the basis — 
of their space divisions is sometimes called “The Golden | 


Oblong,” and it is recognized as the standard for fine space 
relationships. This Greek oblong measured approximately 
58 


Proportion 








Fic. 43.—(Courtesy of the University Prints.) 
THE PARTHENON, ATHENS. In the Parthenon all the proportions are based upon 


the principle that the relationship of about two parts to three, which is not too 
apparent, is beautiful, and that equal or mechanical sizes are uninteresting. 








a ak al ia 


Fic. 44.—A modern building which shows the use of classic forms but not of 
Greek proportions. Note that the square plan of the front and side walls is less 
beautiful than the oblongs of the Parthenon. 


59 


Art in Every Day Life 





two units on the short side and three on the long side. 
(Fig. 42.) It is more beautiful than a square, because the 
equal sides make a square too obvious to be interesting. 
The Greek oblong is also more beautiful than a very long, 





fas 


Fic. 45.—(Courtesy of Arkansas Soft Pine Bureau.) 
The excellent design of this house is due to its good proportions, which are based 
upon those of the Greek oblong. 


narrow oblong, in which the breadth and the length vary 
so greatly that they do not seem to be related. A study of 
the Parthenon, which is the most perfectly proportioned 
building in the world, illustrates the finest work of the 
Greeks in planning space relationships. (Fig. 43.) Com- 
pare the fine oblong formed by the front of the building 
with that formed by the side, and note the height in refer- 
ence to the width of the front. The same beautiful ratio 
is carried out in the smallest detail of the building. Compare 
Fig. 44 with the Parthenon, and it will easily be recognized 
that even though a designer may go to the Greeks for his 
60 


6c 





Proportion 





details, he does not achieve the height of beauty if he does 
not also use their proportions. Just as these two buildings 
show that other things being equal, a square is not so beau- 
tiful as a good oblong, so does a comparison of the small 








<3 SSS FE: 


Fic. 46.—The design of this house is based upon the square. Compare it with 
the oblong plan of Fia. 45, and it will be seen that even though the houses are 
similar in design this one is much inferior. Beauty depends more upon good pro- 
portion than upon architectual details. 


houses in Figs. 45 and 46 strengthen the conviction that as a 
rectangle approaches a square it becomes less pleasing, 
and that the best results depend on close adherence to Greek 
proportions. The use of the Greek oblong and of Greek 
space divisions in the design of the fireplace in Fig. 1 has 
added beauty and distinction to a simple room. Because 
of its delightful spacing this fireplace will never cease to 
give pleasure to its owners. 

_ How to divide a space into two interesting parts. Perhaps 
no art problem occurs so often (even where one does not 

61 


Art in Every Day Life 





2 A % 


Faeanpeccid ROE ISA ern : 


Fic. 47.—A would be the most interesting point within this space to place an 
important object or to divide the space. 





MUU UTC UC CA 





YT AST 


QUOTA AAT HTL 
RUS | 
(NOONAN ARTA 










ALTMAN TAAL ATT 


ee D 





Fic. 48.—Monotony and variety gained through spacing. A shows variety 
throughout. There is no repetition in its lines or in the spaces between them. — 
B shows monotony in its repetition because all the lines and spaces are alike. In 
C the spaces differ from the lines, while in D the spaces are different from the lines 
and from each other. y 





Fic. 49.—The spacing in the border of this handkerchief is of the type diagramed. 
in Fra. 48A, where neither lines nor spaces are repeated. 


62 


Proportion 


realize that a question of art is involved), as the one in 
which a space has to be divided into two or more parts. 
One has to do this when he writes his name on a card, plans 
the division of a wall space or the parts of a dress, or ar- 
ranges a group of objects; and in countless other situations 
the same principle is called into play. If the particular 





Fia. 50.—As in Fic. 48B, this fabric lacks interest because of its monotonous 
spacing. 


division is to be into two parts, the most satisfying result 
is achieved when the dividing line or object is placed at a 
point a little more than one-half and a little less than two- 
thirds the distance from one end or the other. (Fig. 47.) 
However, this point should not be located mechanically, 
and these proportions are only approximate. Any position 
within the limits is potentially pleasing, and there is no 
necessity for a stereotyped choice. 

Dividing a space into more than two interesting parts. 
Dividing a space into more than two parts by means of 
lines or objects presents three possibilities: 


(1) All the spaces may differ. For example, in the dia- 
gram, Fig. 48A, and in the handkerchief illustrated in 
63 


Art in Every Day Life 








Fig. 49, all the stripes and the spaces between them are 
different. This gives the greatest variety obtainable. 
This type of spacing is excellent for relatively small areas 
or for a few spaces, but there is a possibility that the effect 





Fie. 51.—The spacing in this fabric shows repetition with some variety, as 
diagramed in Fre, 48C. 





Fic. 52.—This is a typical application of the kind of spacing in Fic. 48D. The 
repetition of the tucks gives unity, while the difference in the spaces between lends 
variety. © 


64 





Proportion 





may appear confused and inharmonious if a great many 
of these divisions must be seen and compared at one time. 

(2) All the spaces may be alike. In Fig. 48B, and in 
the black and white material in Fig. 50 every stripe is the 
same width, and the spaces between them are the same 





A B 


Fic. 53.—The worth of an object does not depend entirely upon richness-of 
material. One would very soon tire of the chair A with the monotonous propor- 
tions, even though it were of a finer wood than B, in which the parts are beautifully 
adjusted. : 


width as the stripes. This kind of repetition makes for 
monotony. 

(3) There may be a variation in some of the spaces and 
repetition in others. In Fig. 48C, and in the gray material 
in Fig. 51 a stripe is repeated at intervals alternating with 
a space from which it differs in width. In Fig. 48D, and 
in the collar, Fig. 52, the tucks, which are the mark of 

65 


Art in Every Day Life 


division in this example, are alike in width and the spaces 


between them vary. The converse of this arrangement 
would be seen if tucks of varying width were interspersed 
with identical spaces. C and D achieve harmony through 
the repetition of the same unit, but without sacrificing 
the agreeable element of variation. 





Fie. 54.—CostuME or 1850. Equal divisions in a dress give a commonplace ef- 
fect, while the variety which results from following Greek proportions lends interest. 


Additional examples of these types of space division are 
found in Fig. 53, where the chairs show the same general 
type of space division as we have observed in illustrations 
B and C, and in the dresses shown in Fig. 54. In Fig. 43, 
a picture of the Parthenon, the columns will be found nar- 
rower than the spaces between them, producing an effect of 
far greater beauty than if they were equal, because it is 
more subtle. Fig. 48C recalls the columns of the Parthenon 
in the arrangement of stripes and spaces. 

In the arrangement of a shelf one usually finds variety 
in the objects to be distributed, and the aim is to arrange 
them so that the effect is orderly, and that the spaces be- 
tween the objects are interesting. The height of the objects, 
too, becomes a factor to be considered. For instance, Fig. 
55 is commonplace because of the equal spaces between the 

66 


Proportion 





ends of the mantel and the candlesticks, and the candle- 
sticks and the picture. In addition to this, the candles and 
and the picture are the same height. Raising the picture 
and moving the candlesticks produces an immediate im- 
provement, while the introduction of the two small groups 
contributes an added interest by breaking the line still 
more. (Fig. 56.) 

Frequently one has to arrange groups of objects within 
a larger group. Perhaps it is desired to group rows of lace 
insertion or tucks within a given space; to place buttons 
on a dress; or it may be that an embroiderer wishes to repeat 
an interesting unit or spot at unequal intervals on a band or 
a collar. Whatever the nature of the problem, the general 
rule applies that if single elements in a group or structure 
are to be viewed as units, they may be separated by spaces 
wider than the unit measure; but if objects are to be seen 
as a group, the spaces between the objects should be smaller 
than the size of the objects. If this group is to be related 
to another one near it, the space between the two groups 
should be smaller than the space occupied by either group. 
(See Fig. 57.) 

Odd numbers are more interesting than even numbers, and 
three objects grouped with three, or two objects grouped 
with three make a more satisfying arrangement than two 
and two, or two and four, or any combination involving 
even numbers. The arrangement of the tucks in the collar 
in Fig. 52 also follows this plan, and a study of this example 
will show how easy it is to augment interest through this 
simple method of grouping. } 

Lines which apparently alter proportions. Fig. 58 shows 
two rectangles of exactly the same size. In one a horizontal 
line has been drawn, and in the other a vertical line. Where 
the eye is carried across the rectangle it looks shorter and 
wider, and where it is carried up and down the effect is that 
of apparently increasing the height and decreasing the 

67 





‘Art in Every Day Life 


width. It is often said that horizontal lines add width, 
and vertical lines add height. While this is true, a second 
effect may be produced which must also be taken into ac- 
count. Vertical lines can be so arranged that they will 





Fic. 55.—This arrangement is monotonous because the proportions are poor. 
The heights of the objects on the mantel are alike, and the candlesticks are so placed 
that they divide the background into equal spaces. 


carry the eye from one line to the next, and while they still 

add height to an object they will also add width. This is 

seen in the central figure of Fig. 65. Let us therefore confine 

ourselves to the statement that a vertical movement makes 

an object look taller and more slender, and a horizontal 
68 


Proportion 





movement has the opposite effect. An illustration is seen 
in the buildings in Figs. 59 and 60. Although the pro- 
portions of the Palais de Justice and the Palazzo Isolani 
are practically the same, the Palais de Justice appears 





Fic. 56.—This is more interesting than Fic. 55 because the heights of the objects 
and the spaces between them show more varied proportions. 


to be the higher building. This is because all the lines 

draw the eye upward, while the lines and the repetition 

of arches in the other building carry the eye horizontally. 

Thus it is seen that if for the sake of economy one plans a 

house which approaches a square, it is possible in a measure 
69 


Art in Every Day Life 





<3 ——$ > 2» 5 
io et 


me a 


Fic. 57.—This shows a plan which may be followed in arranging objects so that 
they will group well. Think of each one of these blocks as a picture, a button, or a 
bolt of goods—in fact, anything which you wish to arrange in a group. Each 
group is seen as a unit because there is less space between the objects than the 
width of the object. The two groups are easily seen together because there is less 
space between them than the area of each group. Note that all spaces follow Greek 
proportions. 


Fic. 58.—Two oblongs of the same size showing that when the eye is carried up 
and down, the height seems increased and the width decreased, while carrying the 
eye across has the tendency to add width and decrease height. 


to overcome the disadvantages of this plan by the shape and 
the arrangement of the openings. (Figs. 61 and 62.) In 
Fig. 61, where the windows and ‘porch are themselves nearly 
squares, monotony results from the emphasis laid upon this 
aspect of the house. Compare with this Fig. 62, where a 
horizontal effect has been created by the grouping of the 
windows, and variety achieved through the delightful pro- 
portions of the doorway. 
70 


Proportion 








Fic. 60.—TuHE “ Patazzo Isouant,”” BOLOGNA. 


These two buildings have approximately the same proportions, but the lines of 
59 carry the eye upward and make the building appear higher than 60, where the 
leading lines carry the eye across. 


va 


Art in Every Day Life 





The effect of lines upon the appearance of a room. When 
it is understood that the correct use of lines may thus ap- 
parently alter proportions, countless puzzling problems will 
be solved. The room which is too low may have panels 





Fic. 61.—A house which appears to be made up of several squares is 
uninteresting. 


or a suggestion of stripe in the paper; windows too short will 
have long, narrow draperies and no valance; the chair which 
is too “squat”? may have a vertically striped cover (but 
remember not to choose stripes that will carry the eye across 
rather than up and down). The placing of pictures and 
accessories may be used to emphasize height or width in 
aroom. ‘This is seen in Fig. 225 where the vertical hanging 
produces an impression of height. In Fig. 214 the objects 
are placed to carry the eye from one end of the bookcase 
to the other, and seem to increase its length. A few more 
examples of typical problems are illustrated in the following 
rooms. In Fig. 198 a high room has apparently been made 
72 


Proportion 








lower by having carried the color of the ceiling down to the 
tops of the windows; by the use of short window draperies 
with a valance; by low book shelves; and by the suggestion of 
a horizontal decoration in the lines and the arrangement of 








Fia. 62.—(Forsythe and Jones, Architects.) 

Actual measurements show this house to be more nearly:square than Fria. 61, 
but the windows have been so successfully grouped that thére is a distinctly hori- 
zontal movement, making it appear more nearly an oblong. Note the well scaled 
details in this house. 


all the furnishings. In Fig. 205 a room which is unusually 
long has apparently been shortened through the placing 
of important groups of furniture at the central axis. The 
use of more than one rug also appears to decrease the size 
of the room. In Fig. 23 it was desired to increase the ap- 
parent width of the room, and so a valance was put across 
the group of windows, and two rugs were placed so that 
their lines carry the eye across the narrow dimension of 
the room. In Fig. 258 a low room has gained apparent 
73 


Art in Every Day Life 





height through the use of the striped wail paper and the 
arrangement of the furniture and decorative objects, 
which are so grouped that the eye is carried toward the ceil- 
ing. 

The effect of lines upon the appearance of the indwidual. 
A stout woman should avoid horizontal movement in the 








Fic. 63.—Observe that the tall thin woman looks painfully elongated in this 
medieval dress with its vertical movement, whereas she becomes plump in the 
Louis XVI costume. The broad hat shortens the oval of her head, and the full 
skirt builds out her figure. 


lines of her hats and dresses, seeking to direct the eye up 
and down the center of her figure, rather than across it. 
(Fig. 64.) That the buyers and even dress designers do 
not always recognize this important principle is seen in the 
reproduction of a newspaper advertisement of garments 
especially designed for stout women. (Fig. 65.) Broad 
collars, separate waists and skirts, wide yokes on skirts, 
conspicuous sashes, stripes which carry the eye from side 
74 





Proportion 


to side, and short overskirts, all tend to add width, and are 
the very things stout women should avoid wearing. It is 
said that the stout woman should wear panels, but the width 
of the panel is seldom mentioned. That this is an important 
omission appears plainly in the diagram in Fig. 66. 

The salesman who understands how to use lines to alter 


(7) 
(frat 
aN ooh 
‘I i 
tug 4 tx ~ ae 





Fig. 64.—Here is a large woman wearing a hat and dress which make her appear 
much larger than she is. The indicated changes in her costume seem immediately 
to reduce her to agreeable proportions. 


proportions will not advise a short fat man to buy a wide- 
brimmed straw hat, nor will he recommend a bow tie for 
one with a broad face. A long thin face in either man or 
woman needs the softening shadow and the cross line of 
the hat with a brim. A woman any of whose proportions 
vary from the normal will select dresses with lines designed 
to direct the eye away from the unusual feature, and she 
may still further conceal her defect by building out some 
(5) 


Art in Every Day Life 





other part of her dress. For example, if the bust is too large, 
instead of compressing the waist and simply calling attention 
to the unusual size, as many women do, she should build 
out the waist and hips and employ in her costume lines that 
carry the eye up and down the center of the figure. If the 
hips are conspicuous the waist and shoulders may be built 











Fic. 65.—This is an accurate tracing of an advertisement clipped from a daily 
paper. (The original was labelfed ‘‘ From our special Stout Department.’’) Broad 
collars, deep yokes, a double sash of contrasting color, as,well as conspicuous stripes 
that carry the eye across rather than up and down the figure, prove that specialists 
need to be close students of the pringfple of proportion. 


out. If the shoulders are too square it is unwise to accen- 
tuate them with yokes or square collars. It is clear from 
these instances that one has the power apparently to change 
sizes and shapes if he understands the correct use of line, 
and thus this knowledge becomes one of the most valuable 
tools in a person’s equipment. 

“Definition of scale. One of the terms which is used very 
frequently is “scale.” One says, “This building is excellent. 

76 





Proportion 


All its parts are in scale.” Or, “How well scaled this table 
is.” Scale, in this sense, means that the proportions of all 
the elements that have gone into that structure have a consist- 
ent, pleasing relationship to the structure and to each other. 
A very small object never looks so small as when it is 
placed near something which is very large. That is be- 
cause the two sizes are not consistent. They accentuate 


each other by contrast, and would be said to be “out of 


seale.”’ 
Aa B c 


Fic. 66.—These three drawings show the effect of.panels of various width on a 
stout figure. A. When a panel is very wide the eye is led across the figure as well 
as up and down. C. When the panel is too narrow attention is called by contrast 
to the unusual expanse at either side. B. The effect of height and slenderness is 
obtained only when the panel is of moderate size and well proportioned. 





Scale in exteriors. It is very largely because all of the 
parts of the house in Fig. 62 are in scale that it is so success- 
ful. Compare it with Fig. 67 and it will be seen that when 
the scale is bad a house is not a unit, but a jumble of parts. 
Whenever a dormer, a window, or a porch is too large or 
too small it will attract undue attention, and destroy the 
effect of unity that might be produced by the house. In 
this case all three,—dormer, columns, and the large win- 
dows,—are out of scale with the size of the building. In 
Fig. 62 the rather slender columns have been used in pairs 

ris 


Art in Every Day Life 


in order that the supports might be in scale with the house 
Window openings of even ordinary size are apt to appear 
large for the average house and this is particularly so if the 
windows are made with large panes of glass. However, 
the windows: may be brought into scale if small panes are 





Fic. 67.—Here the columns, dormer, and big windows are strikingly out of scale 
with the little house. There is also a lack of shape harmony in the door and small 
windows, and the conspicuous squares at the ends of the steps. Compare this with 
the delightfully scaled house in Fic. 62. 


used, for then it is the small pane which is recorded on the 
mind as the unit of measurement, and not the entire open- — 
ing. Small panes, in addition to being in better scale with 
this house, give it charm and a sense of privacy. 

Scale in house furnishing. ‘The person who would select 
and arrange things that will look well together must de- 
velop a feeling for scale. He must know, for example, that 

78 


Proportion 





two very large chairs and a big divan would seem to crowd a 
room twelve feet by sixteen which would hold a number 
of smaller pieces quite satisfactorily. (Fig. 68.) If large 
pieces must be used in a small room, there should be the 
fewest possible number of them, upholstered in an incon- 





Fic. 68.—This overstuffed furniture is so large that the 12’ x 16’ room appears 
crowded. The use of a set of three pieces has given to the room a monotonous, 
commonplace appearance. Compare with this the harmonious variety and the 
scale of the furniture in Fia. 12. 


spicuous color and pattern. If the furniture seems too 


small for the room, it should be arranged in groups, so that 


the size of the group, and not the size of each piece, may be- 
come the unit for comparison. The maximum appearance 
of size may be given to a room through the use of furnish- 
ings which are small in scale. (See Fig. 1.) 

Seale is judged not only by the size of the whole mass 
of an object, but also by the relationship of each part to 
every other part, and to the whole mass. Two chairs of 
the same outside dimensions will appear different in scale 

19 


Art in Every Day Life 





if the arms and legs of one are very heavy, and of the other 
very light. 

There is a mistaken idea that furniture, to be comfort- 
able, must be huge. This is unfortunate, because it has led 
people who live in average-sized rooms to crowd them with 





Selec 


Fic. 69.—This is a striking example of a badly scaled group of furniture. The 
enormous leather chair dwarfs the other things in the room. 


bulky pieces. If they only knew that comfort is more a 
matter of the construction of the piece than of its size, and 
that equal comfort can be obtained with smaller pieces, 
our small houses and apartments would show much better 
scale, and would be more attractive. The big rocking chair 
in Fig. 69 illustrates this common mistake. It is so much 
out of scale with the Windsor chair, the table, and the vase 
with its flower that it looks elephantine. In passing, it 
should be noted that large size in a chair suggests stability 
and is inappropriate in rocking chairs. Now study Fig. 
12. Here the pieces are well proportioned and go together 
80 





Ot ae 


Proportion 


beautifully. The overstuffed chair is large enough for 
comfort, but not so large as to dominate the room. 

Fabrics, too, have scale. Under the topic of “Harmony 
in Textures” fabrics were grouped in three classes: coarse 
materials, which suggest large scale; fine textures, which 
suggest small scale; and third, an intermediate group, which 
may be used with either of the first two groups as well as 
with objects of an intermediate scale. Fabrics show scale 
in pattern as well as in texture. Large figures are suitable 
for large pieces of furniture to be used in large rooms, and 
small patterns are consistent with small pieces for use in 
small or average rooms. 

Scale in dress. Violation of scale in dress results in un- 
gainly effects, and often culminates in the ridiculous. For 
example, who has not seen the tall, stout woman who insists 
on wearing a very small hat with a dainty butterfly or tiny 
“stick-up”’ for its trimming note; or who glories in dresses 
trimmed with little tassels or a few very small buttons or 
narrow pipings of contrasting color, and who invariably 
carries a diminutive handbag? Of course there is danger 
that, on being shown her error, this woman might go to 
the opposite extreme and select patterns and accessories 
that are too large. Since large patterns and objects are 
conspicuous, they would be equally unsuitable and would 
again draw attention to her size. On the other hand, the 
small woman should avoid large designs because they 
would be “out of scale”’ with her size. 

SUMMARY. It would be possible to enumerate countless 
additional applicatiofis of the principle of proportion, but 
all that is necessary jr the solution of problems under this 
head is the thoroug@pmprehension of: 








btaining beautiful spaces. 


(1) The method 


(2) The proced which it is possible to give the appearance of 
changing sizes and'Bhapes. 


81 


Art in Every Day Life 


(3) The proper use of scale, or consistent sizes. 


The simplest as well as the most elaborate selections and 
arrangements will gain interest through the use of good 
proportion. 


82 


CHAPTER V 


BALANCE 


People unconsciously demand the application of certain 
elementary principles in the arrangements which surround 
them in daily life. These principles are so simple that when 
they are complied with one is not even aware of the source 
of one’s satisfaction. On the other hand, the violation 
of these simple principles will give rise to a feeling of dis- 
appointment which is none the less actual for being, some- 
times, quite undefinable. When one steps into a room with 
most of the furniture at one end the room seems to tip, 
and one longs to rearrange the furniture. One does not 
enjoy watching a woman in the street if she is wearing a 
wide hat and large furs, with a short tight skirt and French 
heels; she looks so top-heavy that it seems as if the next 
gust of wind would blow her over. One is uneasy upon 
seeing a large bouquet of flowers in a vase with a very small 
base, for the balance which the eye desires is missing. 

Definition of balance. ‘The success of every design depends 
in a measure on correct balance; and, stated briefly, balance 
is rest.or-répose. ‘This restful’effect is obtained by grouping 
shapes and colors around a center in such a way that there 
will be equal attractions on each side of that center. 

How to balance objects. 'The youngest school boy can 
balance objects if he is told that balance works on the same 
principle as the see-saw. Equal weights will balance when 
they are the same distance from the center. If unequal, the 
heavier weight must be moved toward the center and the 
lighter weight away from it before balance is obtained. (See 
Figs. 70A, B and C.) Balance in art can be explained quite 

83 


Art in Every Day Life 








Fic. 70.—THE PRINCIPLE OF THE SEE-SAW APPLIED TO BALANCE IN ArT. A. Equal 
weights or attractions balance each other at the same distance from the center. 
This kind of balance in art is called formal or bisymmetric balance. B. Unequal 
weights or attractions balance each other at different distances from the center. 
The stronger the chief attraction is the nearer it must come toward the center, and 
the weaker the other the farther away it will go. If one object is half as big or half 
as attractive as the other it will be placed twice as far from the center. This is 
called informal or occult balance. C. Another method of balancing large objects 
with smaller objects, besides the one shown in B, where both are placed upon the 
same horizontal line, is illustrated in C. Here the large object comes toward the 
foreground, and is balanced by placing the smaller one in the background. In 
other words, it gives the effect of being seen in perspective. This method of balanc- 
ing is used especially in pictorial composition, in designing store windows, and in 
arranging stage settings. 


84 


Balance 





as simply as balance in weights. The only difference 
is that it is not so much a question of how much the objects 
weigh as how much attention they attract If one boy wore 
a gray sweater and another wore red, in balancing them 
against a background one would follow the same principle 
as for balancing unequal weights, and would place the boy 
in red nearer the center of the wall, while the less conspicu- 
ous boy would be moved farther away. The brighter that 
red sweater the nearer it would have to come toward the 
center line, and the duller the grey sweater the farther off 
it should go. 

ForMAL AND INFoRMAL Bauance. There are these two . 
types of arrangement into which balance may be intro- 


duced: 

(1) When the objects are exactly alike and have, there- 
fore, the same power of attracting the attention. 

(2) When they differ in size, shape, or color, or, in other 
words, are different in their ability to attract attention. 
This first kind of balance is known as ForMAL BALANCE, 
and it is usually bisymmetrical The second is called 
INFORMAL or OccuLtT BALANCE, and this is unsymmetrical. 

Formal balance is much easier to use because it can ac- 
tually be measured, while the successful use of informal 
balance depends upon training the eye to recognize restful 
arrangement. 

Objects must balance around a center. It will be seen that 
the center of the space under consideration is the point 
around which all attractions must be adjusted. If objects 
are of the same size, and alike in appearance, they will 
attract the same amount of attention and therefore should 
be placed equally distant from the center. This type of 
balance (the formal) is quiet, dignified, and impressive, 
but quite mechanical. On the other hand, informal balance 
is more subtle, and affords greater opportunity for imagi- 
native arrangements. 

85 


Art in Every Day Life 





Balance in pictorial composition. Pinturicchio’s “Music” 
is an illustration of a formal arrangement in which the figures 
on either side of the center line are so nearly alike that they. 





oo ‘és P 5 ne 2. 


Fria. 71.—Formal Balance. “‘Music”’ By Pinturiccuto. (Courtesy of Anderson, 
Rome.) 

When a painter desires a stately, dignified effect in his picture he is apt to use 
formal balance, or the principle of Fic. 70 A, where equal attractions appear on 
each side of the center. 


attract the same amount of attention. The lights and darks 

have been repeated in practically the same relative positions, 

and the figures have been balanced so skillfully that, even 

though both sides are not exactly alike, one has the impres- 

sion of symmetry. (Fig. 71.) In Puvis de Chavannes’ 
86 





Balance 





Fic. 72.—Informal Balance. ‘“‘Sarnt GENEVIEVE WatcHING Over Panis,” 
BY Puvis DE CHAVANNES. 

A very skilfully balanced group of objects which are unequal in their power to 
attract attention. The large mass of light consisting of the figure and house is 
balanced by the moon and its reflection off in the distance, as in Fic. 70 C, and by 
the jar of flowers on the floor placed as the small boy in Fia. 70 B. Removing or 
changing any of these spots destroys the equilibrium of the picture. Note how ob- 
jects placed near the boundaries attract more attention than those near the center. 


87 


Art in Every Day Life 





‘“‘Saint Genevieve”’ we find an instance of informal balance 
so perfect that its restfulness is the first thing the observer 
feels. (Fig. 72.) Cover the moon and its reflections and 





Fic. 73.—A bisymmetric design adapted by the Persians from the pomegranate. 


note how this sensation of rest is disturbed. Most of the 
weight is now in the right half of the picture and to restore 
the balance one needs just those little isolated spots. Re- 
member the small boy on the long end of the board in Fig. 





Fia. 74.—A modern bisymmetric design for embroidery. 


88 


Balance 











Fic. 75.—A Japanese stencil, showing a delightful use of informal 
or occult balance. 





Fic. 76.—Occult or informal balance. This is an unsymmetrical adaptation of 
the embroidery design in Fic. 74. 


89 


Art in Every Day Life 


70C. The jar of flowers on the floor corresponds to the small 
boy in Fig. 70B, and one sees how the moon and the vase 
have gained importance by being placed so far from the 
center line. . 

Formal and informal balance in decorative design. The earlier 





Fic. 77.—Ca pD’Oro, Venicr. A suggestion of the gaiety of the life of the 
tians is expressed in the informally balanced design of this Gothic palace. 


art periods produce more formal expressions than the modern — 


periods, and numerous examples of bisymmetric balance are 
found in their designs. The pomegranate design which 
is shown in Fig. 73 is attributed to the Persians, and this 
motif has been adapted to formal design in many periods. 
Because of its stateliness it was often used in the rich fabrics 


that upholstered the chairs of the Renaissance. Much 


90 


<a 





Balance 





of the impressiveness of this design is due to symmetry. 
Compare with it the modern embroidery design derived 
from it. (Fig. 74.) In this example the detail is much less 
complicated, but there remains something of the formality 
of the first design. | 





Fie. 78.—Patazzo Srrozzi, Frorence. Bisymmetric balance seems especially 
adapted to the social and political life of the Florentines during the Renaissance 
period. 


The characteristic designs of the classic periods are formal, — 
whereas the art of Japan is informal. The Japanese are 
masters of the subtle art of occult balance, and they have 
acquired such expertness that their flower arrangements, 
prints, and stencils are remarkable for their subtlety and 
spontaneity. One of their typical designs is seen in the stencil 
pattern in Fig. 75. Here is a perfect adjustment of unequal 

91 


Art in Every Day Lite 





spots on either side of the center line. The exquisite grace 
of the lines combined with the subtle balance of forms stim- 
ulate the imagination of the person who looks at it. (Other 
examples of the Japanese use of informal balance are seen 
in the print over the chest of drawers in Fig. 94 and in 
Fig. 246.) Fig. 76 shows a more conventionalized design 





of reserve. The design has gained distinction through its simplicity and its beauti- 
ful proportions. 


than this Japanese stencil. It is a simple example of in- 
formal balance which the person who embroiders is likely 
to design. Here are details which are similar to those in 
Fig. 74, but they are balanced informally. 

Balance in exterior design. The architect has to balance* 
doors and windows, porches and dormers around the central 
axis of a building just as the painter arranges his composition 
on canvas. Whether he chooses to use formal or informal 
balance depends very largely upon the following conditions: 

(1) His own personality. 

(2) The spirit of the age in which he lives. 

92 


Balance 


(3) The use to which the building is to be put. 
(4) The type of people for whom the building is planned. 


In glancing back over the historic periods, one sees that in 
the days which were filled with a spirit of romance, every- 
thing which was done was expressive. In the golden days 
of Venice, the bright fantasy of the times was echoed in the 





Fic. 80.—This house is balanced informally. Note that the large wing, placed 
near the center of the house, is balanced by the small wing placed farther away. 


charming, unbisymmetric designs of many of the Venetian 
palaces. (Fig. 77.) In Florence, art found a very different 
expression; the seriousness of the Florentines in the early 
- Renaissance period, so vividly reflected in the work of 
Michelangelo, is seen in their stately, unadorned, bisym- 
metric palaces, the natural outcome of their lives and 
thoughts. (Fig. 78.) In the same way the spirit of Puri- 
tanism led to restrained, formal designs in the buildings 
which were erected in the American Colonial times; in their 
large public buildings and in their small dwellings as well, 
the Colonists put their own personalities into their work. 
Two houses are shown here to illustrate how the architect 
secures these two kinds of balance in a building. In com- 
93 


Art in Every Davy Life 


paring them, notice their difference in spirit as well as the 
mechanical means by which this effect was secured. If a 


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Fia. 81.—(Courtesy of Mr. C. E. Lawrence.) 

A balance of equal and unequal attractions in an advertisement. The upper 
two-thirds is formally balanced, while the lower third shows unequal attractions 
which balance because of the manner of grouping. The strong dark of the 
curtains and the striking shapes of the rug and chair at the right balance the sum 
of the two cuts on the left. Together they are somewhat less forceful than the cut 
at the right, but the bolt of material leads the eye in that direction a little more 
strongly than it carries the other way, and so there is a feeling of rest. 


line were drawn through the center of the house in Fig. 79 

it would be found that everything on one side is repeated 

on the other side, and so this house is “‘bisymmetric,”’ and 

it is formally balanced. Fig. 80 is informally balanced, 
94 


Balance 





and the architect obtained a feeling of restfulness by carry- 
ing out the principle illustrated by the large and small boy 
on the see-saw. The larger wing, which extends to the 
center of the house is balanced by the smaller wing farther 
out. 

Balance in advertising. In the advertisements in the papers 


BLACKWELL 

















254 FIFTH AVENUE NEW YORK 








Fic. 82.—In advertising materials which are distinctly practical the sturdiness 
of formal balance seems especially appropriate, while the grace of the occult bal- 
ance is well suited to objects which have fine texture. 


and magazines, the principle of equal and unequal weights 
as related to balance is kept in mind. The men who pre- 
pare the copy do not place all of the heavy type headings 
and dark cuts in one section; they try for balance by shifting 
the darker parts and combining with them the lighter cuts 
and types faces. The advertisement in Fig. 81 shows a 
combination of formal and informal groups, while the whole 
effect is of formal balance. The upper part is formally 
95 


Art in Every Day Life 





balanced around the center line, while the lower part shows 
how the strong dark of the curtains and the striking shapes 
of rug and chair balance the larger but less conspicuous 
mass on the left containing the two illustrations and most 
of the bolt of material. 

In the two car cards in Fig. 82 the severity of formal 
balance has been chosen for the hardware advertisement, 





Fic. 83.—Formal balance which is symmetrical. Since the forms are exactly 
alike they will balance at any points equally distant from the center. Because 
it was desired to have the effect of a group the space between is less than the width 
of the objects. 


while the greater grace and subtlety which come with in- 
formal balance seemed better suited to the idea of Japanese 
wares. _ 

How to develop a sense of balance. A very simple method 
of training one’s own sense of balance is suggested by the 
illustrations in Figs. 83, 84, 85, 86, 87, and 88. For these 
exercises pictures of window displays were used, and the 
objects were cut out, but it is obvious that the same problems 
may be worked out with groups of furniture, pictures, and 
other objects placed against a wall. Here several pieces of 

96 


* 


a 








Balance 





paper were cut to represent the floor and the background of 
a window which would be large enough to hold these objects. 
A light guide line was drawn down the center because both 
halves of the arrangement must have the same “pulling 
power,” and it is simpler at first to compare the halves if they 
are marked off. It is well to keep a record of the experiments 
by tracing around the models as soon as a satisfactory ar- 





Fic. 84.—Informal balance with unequal attractions. The drape attracts more 
attention than the parasol, and to balance the parasol, the drape must be placed 
nearer the center. The larger amount of empty space around the parasol then 
gives it enough additional force to make it appear as conspicuous as the large drape. 


rangement has been made. If this is done the same figures 


can be used for any number of studies. This method is 
suggested merely as a means of saving time for it is about 
as valuable for training the eye as working in materials, 
and it has the advantage of being done much more quickly 
and is convenient when materials may not be available. 
After a few attempts the experimenter will gain a sense 
of confidence in his ability to balance objects, and will 
work with them easily. 
97 


Art in Every Day Life 





It is advisable to start with two objects which are alike, 
and try for formal balance. It will be seen that the objects 
will balance each other when they are equally distant from 
the center. (See Fig. 83.) One’s sense of good proportion 
will prevent the space between from being the same size as 
the objects. If they are to be grouped in order to con- 
stitute a single idea the space will be less than the size of 





Fic. 85.— Formal Balance. Since balance is sure to come if both sides are alike, 
the designer concentrates his efforts upon good proportion, harmony, rhythmic 
movement, and emphasis. Objects and spaces between objects follow the prin- 
_ciples of Greek proportion and are in the relation of about two parts to three. 


the object, whereas if they are to present two separate ideas 
the space will be larger. 

The next step is to balance two objects which are different 
in size, shape, or color; this will lead to interesting dis- 
coveries. For example, it will be found that an empty 
space is often more emphatic than a full one, just as a sud- 
den silence coming in the midst of a long loud piece of 
music seems even more striking than the music. By leaving 


a large space around an object it will become so emphatic g 


that it will be as important an attraction as a much larger 
one placed nearer the center line. By moving the models 
98 





—— . 


> ew 


Balance 





forward and back, and to the right and left one will soon 
discover just how much empty space the small object needs 
between it and the larger one to secure balance. (Fig. 84.) 
An object which is very striking or peculiar in shape or 
color will have the same power to attract attention as a 
larger one which is simple and inconspicuous; two such 
objects then would balance each other at equal distances 





Fie. 86.—Informal or occult balance is the result of the careful adjustment of 
different shapes and colors so that both halves of the design attract exactly the 
same amount of interest. Equal attraction in this case has been secured by first™ 
working out a central group, and then placing objects on both sides of that group 
so that the window seems to have the same “pulling power” on both sides of * 
the center line. The principle shown in Fic. 70 C has been used in placing the 
hat and card. Notice how the rhythmic movement in the fold of the drapery on 
the floor at the right carries the eye involuntarily toward the hat and card, and 
‘helps to unite them with the group. 


from the center, even though there is a great difference in 
their appearance. (See Fig. 84.) | 
Plates 85, 86, and 88 show different types of balance 
secured through the arrangement of the objects which were 
cut from the illustration of the window display mentioned 
above. 
Fig. 85 illustrates the formal balance in which everything 
99 


—— 


Art in Every Day Life 











on one side of the center has been repeated on the other 
side. This kind of balance gives the greatest amount of 
dignity. It depends largely upon good proportion and 
rhythmic movement for its beauty and interest. 

Fig. 86 shows an informal grouping in which is applied 
the principle of unequal weights placed at unequal dis- 
tances from the center. The equalization of the amount 





Fic 87.—Lack of balance. So much material has been placed on the left side 
that the hat and card, even with all the emphasis given to them by the blank space, 
are unable to hold down the weight of the other half. The removal of that rhyth- 
mic line in the drapery has also helped to destroy the balance by making the eye 
take an uncomfortable jump towards the distant group. 


of attraction on either side of the center is secured by first, 
working out a central group which, although made up of _ 
different objects, has approximately as much interest on 
one side as the other. Since more articles are to be used | 
in this window the central group does not need to show 
exact balance around the center line of the window, because ~ 
every other object which is added will appear to tip the — 
whole window one way or another. In the end it is the effect - 
of the whole and not of any single part that must be judged. — 
After the central group has been placed there remain the- 
large dress form and the two small objects. The hat and — 
100 ‘ 


tie 


ee a 





Balance 





the card, even when grouped, attract less attention than 
the dress form, so that it is necessary to make some adjust- 
ments. If more empty space is allowed around the small 
objects they are emphasized so much that they become as 
important an attraction as the dress form placed nearer 
the center. In this type of balance one must be careful 
not to divide the interest in the whole arrangement by 





Fic. 88.—A combination of the two kinds of balance, which gives some of the 
dignity of formal balance with the variety which comes with the more informal 
arrangement. 


making it appear to be two separate displays. The entire 
design should be seen as a unit. Notice how the rhythmic 
fold at the base in the right side of the drapery suggests 
this unity by leading the eye over to the small group, thus 
definitely implying a relationship; it also aids the balance 
by making the design seem to stay quietly in place. 

Fig. 87 shows the result of placing too much weight on 
one side of the center line. The mass at the left is so heavy 
that even with the large empty space around it the small 
group is not able to hold the gaze as long as the large one 
does, and there is such a noticeably strong pull toward the 
left that the whole window seems to sag down that way.) 

101 : 


Art in Every Day Life 


The absence of the fold at the base of the drapery has re- 
moved all suggestion of connection between the groups. 

In Fig. 88 a combination of formal and informal balance 
has been used. The two forms have been placed symmet- 
rically and the central group has been balanced in the un- 
symmetrical or more informal way. The formal placing 
of the two forms has given a certain amount of dignity 
and simplicity to the scheme, while the informal group 
at the center seems a little more varied and may hold the 
interest longer because it is not quite so quickly grasped 
by the mind and passed over. 

Balance in interior design. While the problem which 
has just been worked out deals with materials for window 
displays the principle is the same wherever arrangement is 
called for. A well balanced wall will have the same amount 
of attraction on both sides of its center line. A well bal- 
anced room will have approximately the same amount of 
attraction on opposite walls; although the two side walls 
may be somewhat heavier than the end walls, there should 
be the feeling that the attractions are about equally dis- 
tributed around the room. 

In placing the furnishings of a room, the architectural 
openings must be taken into consideration. Very often 
balance is secured by having a large piece of furniture on 
one wall of a room as a balance to an opening on an opposite 
wall. The large pieces of furniture should be placed first, 
and they are usually balanced symmetrically. The next 
step is to arrange the smaller movable objects in the room 
so that they will make convenient groups as well as balanced 
units. After the furniture has been arranged the attention 
is turned to the balance within each group. 

A study of the room shown in Figs. 89 and 90 makes 
clear the method of balancing the objects in a living room. 
The major portion of the four walls of the room is seen, 
showing the location of some of the openings and the furni- 

102 


pian 


ne 





Balance 





Fic. 90. 


Fics. 89-90.—Two views of a living room which show the balancing of furnish- 
ings against the four walls. Observe that the secretary is balanced by the piano, 
while the sofa, with the small table, against one wall balance the table and chairs 
on the opposite side. Note that the large pieces of furniture are placed to harmonize 
with the lines of the room, while the chairs create transitional lines which lead the 
eye from one group to the next. (The photograph makes the chair to the right 


appear to block the doorway; actually it was placed out in the room, and gave 
ample room for a passageway.) 


~ 103 


- 


Art in Every Day Life 








ture. Since the piano and the secretary are large pieces, 
they may well be used to balance each other at opposite 
ends of the room. Then, too, because it is desirable to place 
a piano away from the conversation center, and relative 
seclusion is appropriate for the writing desk, there is an 


added advantage in having these pieces at the ends of the 





iE: ass 


Fie. 91—While the objects on each side of the fireplace are not alike, the eye 
is held for the same length of time by each group, and a balance results. 


room. This arrangement leaves the side walls and the 
center of the room for more general use. The sofa is placed 
in the center of the wall space between two doors on one 
wall, and is balanced by the table on the opposite wall 
between two windows. The chairs and small tables are 
placed where they will be convenient for use. It will be 
noticed that the height of the secretary and of the screen 
is balanced at the other end of the room by the window and 
the mirror. So far, the pieces have been more or less sym- 
metrically placed. The objects on the tables are balanced 
informally, and bring more variety into the room. The 
color of the Indian shawl on the piano is balanced by the 
104 





Balance 





folded shawl on the chair at the opposite end of the room, 
and by the books in the secretary. The sparkling colors 





Fic. 92.—This chest of drawers with the candlesticks, box, and picture illustrates 
formal balance. Note that the figures in the Japanese print are balanced infor- 
mally. 


in the pictures, lamps, pottery, and brass candlesticks are 
repeated on the four sides of the room, so that there is not 
only a balance in sizes, but balance in color. 

105 


Art in Every Day Life 


There is one place in the room where an unbalanced effect 
is most likely to occur. That is where a davenport has 
been placed at right angles to a fireplace. In large rooms 
where two davenports are used they may be arranged to 
balance each other on either side of the fireplace. Where 
there is but one, and it is desired to have it beside the 





Fic. 93.—(Courtesy of Wm. French & Co., Minneapolis.) 
This type of furniture calls for the dignity of a formal arrangement. 


fireplace, it becomes necessary to place something on the 
other side to complete the balance. A chair may be placed 
there, but it must not be too small or too light in scale. 
A willow chair, for example, would need to have other pieces 
grouped with it. An upholstered chair with a table and 
lamp, or two chairs with a table between them would make 
a successful group. One solution of this problem is shown 
in Fig. 91, where two chairs and a small table have been 
grouped to balance the large davenport. | 

The person who is interested in interior design will find — 
that the kind of balance which is used in the arrangement 

106 





Balance 





of furniture and decorative objects helps to give an indi- 
vidual quality to a group, and it also influences the character 
of the room. The formal groups in Figs. 92 and 93 are 


ae 


Ea 





Fic. 94.—Here the informal balance makes for interesting quality and 


picturesqueness. 


examples of the type of arrangement which one would 

expect to see in a hall, a bedroom, or in a dining room. 

Balance of this sort gives an impression of dignity and some- 

what the feeling that is inspired by a stately building. 

There is sure to be formality in bisymmetric arrangements, 

whether the objects are very simple, as in the group with 
107 


Art in Every Day Life 


the chest of drawers; or in greater numbers, as seen above 
the writing desk; or more pretentious in type, as in the hall. 

There is more intimacy in informal arrangements than 
in formal, and a sort of chatty, conversational quality is 





Fie. 95.—An illustration of bisymmetric arrangement in which interest has been 
secured through a variation in the sizes and shapes of the objects used. 


apt to come into a room where informal balance prevails. 
If one compares the informal arrangement of Fig. 94 with _ 
the symmetrical one in Fig. 95, he will notice that the effects | 
are essentially different. There are spontaneity and variety 
in the uneven grouping, and while the other arrangement 
is quaint, it is more reserved. |, 

108 


| 


Balance 





It is not necessary that all the parts of a room should 


_agree in being either formal or informal in arrangement. 





For example, one might use a formal arrangement on the 
desk, an informal grouping on the fireplace, and a combi- 
nation of formal and informal balance on’ the bookcase, 
as is seen in Fig. 96. This type of balance makes an impres- 


= 





Fic. 96.—A combination of formal and informal balance. The unsymmetrical 
arrangement in the center has taken away some of the severity which might result 
from an entirely symmetrical scheme. : 


- 
* 


sion which lies between the formal and the informal. There 
is more variety than if the same objects were repeated 
throughout; yet a certain dignity comes from the repetition 
of some of the objects. 

Testing for a balanced room. In working for a balanced 
room, one should continually test both halves to see that 
one half does not present any greater attraction to the eye 
than the other. In arranging the room the four walls, 
with everything seen against them, must balance; if one 
side seems too heavy, it is necessary to add a brighter color, 
a more striking shape, or simply more material to the weaker 
side, and keep adjusting the attractions until the whole 
room looks restful. 

109 


Art in Every Day Life 





Balance in dress. Objects which are seen in an upright 
position have a tendency to appear to be dropping in space. 
Therefore it is agreeable to the eye to have the center of 
attraction come slightly above the mechanical center of the 
center. Thus it will be seen that Fig. 97B appears to be 
balanced even though the weight is somewhat greater in the 
upper half of the body. When this effect is exaggerated, 
however, as in Fig. 97A, the figure appears unstable. In 





a B 


Fic. 97.—A familiar silhouette in 1920. A. Objects must balance above and below 
the center line as well as on both sides. Too much weight above the center destroys 
the appearance of rest and gives the impression of instability. B. Balance is re- 
stored by reducing the size of the hat and furs, lengthening and widening the skirt, 
and making heels lower and broader. The fashion of the time is observed, not 
in its most extreme phase, but sensibly and with regard to the principles of art. 


dress one needs to look carefully in order to avoid violation 
of balance. The fashions of some seasons make a woman 


look as if she would topple over from the sheer weight of 


her hat and furs. The woman of taste avoids all extremes 


in dress, and although she does not wish to appear con- 


spicuous by wearing something strikingly different from 

everyone about her, she chooses the more conservative 

styles which will not make her look grotesque. In her 

choice of hats she must consider not only the balance in 
110 


Balance 





the hat itself, and select one that will look as if it would 
stay on her head without the need of pins, but the hat 
must balance with her height, the width of her hips and 
shoulders, the length and width of her skirt, and the size 
of her feet and heels. Many women try on hats when 
seated, and are able to judge the effect only on the face and 





A 5 


Fic. 98.—A. Hats of 1920. When both sides of a hat are alike it will be balanced, 
but there is an additional consideration,—for the hat must balance the figure as a 
whole, and should not seem too large or too small. B. A hat which is balanced 
informally. C. An informal arrangement of trimming which lacks balance because 
there is too much attraction at the right. To appear balanced a hat should look 
as if it would stay in place without.a pin, 


shoulders. When they see the entire figure reflected in a 
mirror, they are frequently surprised. (Figs. 98A, B, and C.) 

Whether the dress and hat shall show formal or informal 
balance is a matter of personal preference, for they have 
equal advantages. The formal balance, as has been stated, 
is easier to use and is appropriate to every occasion. It is 
likely to show more strength, dignity, and reserve, and is, 
therefore, especially fitted to clothes for street and sports 

111 


Art in Every Day Life 


wear; in the richer materials it suggests stateliness and 
formal occasions. (Fig. 99.) The informal balance may 
show more subtlety and variety; it suggests grace, and is . 
suited to beautiful, soft materials. (Fig. 100.) If a strik- 





Fig. 99.—Costume of 1921. Formal balance in dress gives the effect of dignity 
and reserve, and often of severity. It is very fittingly used in this street dress. 


ing band or other decorative note is to be used only on one 
side of a dress, it should not be placed too far from the center 
line. If it is placed far out at the boundary of the figure, 
the dress will appear unbalanced, unless something is placed 
on the other side to balance it. 
SumMARY. Throughout all these illustrations it has been 
112 | 


Balance 





seen that if arrangements of any kind are to give pleasure 
and not annoyance all the shapes and colors used must be 
placed in such a way that the effect is restful to the eye. 
_ This effect of rest or balance may be secured by adjusting 





Fic. 100.—(Taken from Giafferi, “L’ Histoire du Costume Feminin Francais,” 
Edition Nilsson, Paris; Gerbel, New York, distributors.) 

Informal balance in dress, when successfully carried out, gives variety, charm, 
and grace. This type of balance is especially adapted to afternoon and evening 
clothes and to negligees. This costume of the period of the Restoration shows 
occult balance. 


all the shapes, sizes, and colors in an arrangement with 
reference to a center line. 


Objects which are alike have the same power of attraction, and they 
113 


Art in Every Day Life 





will balance each other at equal distances from the center line. This 
type of balance is called bisymmetric, and it is formal. 

Objects which are unequal in their attraction must be carefully ad- 
justed with reference to the center line in order to appear balanced. An 
object with greater attracting power moved toward the center will balance 
a less emphatic one placed farther away. This type of arrangement is 
called occult or informal balance. 


(Note: Balance in color is discussed in the chapter on color, p. 205). 


114 


CHAPTER VI 
RHYTHM 


If a number of persons were asked to define rhythm and 
give an example of it, the illustrations would vary greatly, 
but the meaning in each case would be the same; for each 
person would in some way try to convey the idea of a pleas- 
ing, related movement. Some would mention the beat of 
march music, others the graceful movements of a dance, or 
possibly the rhythmic dipping of oars together with the 
rhyming patterns which appear on the water after each 
stroke. Perhaps the swinging lines of a poem would be re- 
called; the sensation of easy, graceful, consistent movement 
is common to all expressions of rhythm. | 

Definition of rhythm. While rhythm may be defined as a 
form of movement, it must be recognized that not all move- 
ment in design is rhythmic. Sometimes movement is dis- 
tracting. In art, rhythm means an easy, connected path, 
along which the eye may travel in any arrangement of lines, 
colors, objects, or lights and darks. Rhythm, then, 7s related 

movement. In a perfectly plain space there is no movement; 
there is simply a resting place, and the eye remains quiet at 
any point where it happens to fall. The moment that pat- 
tern is placed upon that plain space, or an object is placed 
against it, the eye will begin to travel along the lines of the 
object or the pattern, and at that moment movement is 
created. This,movement may be organized and easy, and 
_ thus rhythmic; or, it may be very restless and distracting, 
_ and lacking in rhythm. 

Radiation. Organized movement may be obtained in 

| 115 








Art in Every Day Life 





another manner—without using rhythm—through “ Radia- 
tion.” In radiation the movement grows out of a central 
point, as is seen in snow crystals, in leaves, and in shells. 
Radiation is used very commonly in designs for store win- 
dows, and the person who makes designs for embroidery 
must understand it, as it is the plan for many geometric 





Fic. 101.—Carneprat pi Bart. (Courtesy of Smith and Packard, Chicago.) 

Radiation in design is seen in the plan of this rose window. Here the straight 
radiating lines are held in, and the effect of the circle strengthened by the heavy 
band around the edge. 


patterns. ‘T'wo illustrations showing radiation are given 
in Figs. 101 and 102. In the rose window the straight lines 
lead abruptly toward and away from the center; therefore 
the designer found it necessary to restrain this rapid action 
by means of a heavy band around the outside of these radi- 
ating lines. In the brass dish, the curved lines of the motif 
in the center lead the eye around its circumference as well 
116 


iene 


Rhythm 





as toward the center, and this movement helps to suggest 
the circle. Because the structure of the circle is inferred 
by the design itself these lines do not have to be held in so 
securely at the outside boundary as when the radiating 
lines are straight. 

How to gain rhythm. Returning to the question of rhythm, 





ee A 


Fic. 102.—Brass dish. Italian, XV Century. (Courtesy of the Minneapolis 
Institute of Arts.) 

The design in the embossed center of this dish shows the kind of movement which 
is called “‘radiation.”’ Note that the curves of these radiating lines help to unify 
the design. 


there are three outstanding methods of obtaining rhythmic 
movement: 

(1) Through the repetition of shapes. 

(2) Through a progression of sizes. 

(3) Through an easily connected, or a continuous line 
movement. 

Rhythm through repetition. The principle of rhythm as it 
is gained through repetition is recognized when one is con- 
scious of the swing of the beautifully spaced, regularly re- 

i 


Art in Every Day Life 





peated columns of the Parthenon, which may in a way be 
likened to the strokes of a perfectly trained crew of oarsmen. 
(Fig. 43.) When a shape is regularly repeated at proper 
intervals a movement is created which carries the eye from 
one unit to the next in such a way that one is not conscious 





Fic. 103.—The lace designs in Frias. 103, 104, and 106 show the various ways in 
which rhythm may be gained. This is an example of rhythm gained through the 
repetition of the motifs in the border. 


of separate units, but of a rhythmic advancement which 
makes it easy for the eye to pass along the entire length of 
the space. When these intervals are too far apart the move- 
ment will lack rhythm. (See Fig. 57.) In securing rhythm 
through repetition one must be careful to avoid monotony 
,in spacing, for good proportion is a necessary accompani- 
ment to repetition if beauty is to result. In the lace design 
118 


Rhythm 


in Fig. 103 there is a rhythm which seems almost to have 
melody. There is regularity in the repetition of the leaves 
forming the edge of the lace, which sets off the more varied 
repetition of the upper units. 

There are any number of practical applications of this 
principle of rhythmic repetition. Hand in hand with good 
spacing it makes for pleasing effects when one is placing 
rows of braid or tucks on a dress; placing groups of buttons; 
repeating dots, squares, or any shape of spot in embroidery; 


¥ SX ERIS sen 
SCC 0% wei res es sereene SER we Se 
Bh ee 


BRR KK 
Soe wes ees siesene 
eeatenaes oes 





Fic. 104.—The design in this lace illustrates rhythm gained through a progres- 
sion of sizes. 


or putting out rows of objects in store display. It is interest- 
ing to remember that repeating a shape a number of times 
gives an effect of repose; and sometimes a shape which, by 
‘itself, is difficult to use as a single unit in design, will be 
successful when it is repeated at close intervals. This 1s 
true of triangles and diamond shapes, which are unrelated 
to most forms, yet which may work into successful borders 
when they are placed close together. A rhythmic effect 
comes into a costume when a suggestion of the tucks or 
braid on the skirt is repeated in the waist or a note of color 
is carried from one part of the costume to another. 

Rhythm through a progression of sizes. The second way of 
obtaining rhythm is through a progression of sizes. The 

119 


Art in Every Day Life 





lace pattern in Fig. 104 shows how the eye is carried along 
an easy route by this method. While a regular progression 
of sizes may be satisfying enough for scallops on lace and 


fats 

Fic. 105.—Japanese print by Toyokuni. Japanese artists are masters in the use 

of rhythmic arrangements in line, light and dark, and color. Observe how the eye 

can enter this picture at any point, and travel with ease over the entire composition. 

This graceful movement is due to the rhythm of the lines and the pattern of light 
and dark masses. 





embroidery one enjoys a more varied progression when large 

objects are involved. Progressing sizes create a rapid move- 

ment of the eye, and they are often badly used. An example 
120 


a 


Rhythm 


of this misuse is seen in the arrangement of pictures or other 
objects against a wall in a series of steps which carry the 
eye up toward the ceiling, and hence away from the part 


Ti 





Fic. 106.—The eye is led easily along this design by the continuous line 
movement. 


of the room around which one would like to have the interest 
centered. While a series of steps is undesirable because it 
leads the eye to the wrong place in the room, a group of 
objects in which there is no variation in height is monoto- 





Fic. 107.—The lines of this pattern go in such discordant directions that the 
design lacks rhythm, and the eye becomes fatigued in the attempt to follow them. 


nous. In order to avoid both extremes one should use a 
series of varied heights such as are shown in the objects 
on the mantel in Fig. 117. This is a successful arrangement 
because the clock is lower than the candlesticks. If the 
central object in this group had been higher than the candle- 
sticks the progression would have been too abrupt. 

121 


Art in Every Day Life 





Rhythm through a continuous line movement. Compositions 
which show rhythm through continued line are apt to be 
made up very largely of curves. One finds many fine ex- 
amples of this type of rhythm in Greek sculpture and in 
Japanese prints. This impression of continuous line is 
illustrated in the print in Fig. 105. There is a swinging 
movement throughout the entire picture, and no matter 





Fic. 108.—The three types of rhythmic movement are seen here. There is 
rhythm through the continuous line in the center of the bottom border, repetition 
in the row of dots above this line, while the wavelike lines in the open space above 
show rhythm through progression. 


where the eye enters, it is carried along by the easy, flowing 
arrangement of the lines, lights and darks, and colors, so 
that the gaze travels over the whole picture without the 
least sensation of hindrance. The rhythm in this composi- 
tion is so striking that it produces much the same sensation 
as does a graceful dance. 

The same type of rhythm that is seen in the Japanese 
print characterizes the pattern of the lace in Fig. 106. Here 
is the big free swing of the wide, undulating line, and in the 
other parts of the design this movement is echoed and re- 
echoed. Compare the rhythm of this pattern with the lace 

122 


| Rhythm 





shown in Fig, 107. In this case every line seems to be defy- 
ing every other line, and so there is just as marked lack of 
rhythm as there would be if two dancers were out of step 
with each other, and out of time with the music. 

. Frequently one finds an arrangement in which all three 
kinds of rhythmic movement are used. This is very apt to 
be the case in the larger schemes, as in room arrangements, 





Fia. 109.—The rhythmic effect in the design of this house is achieved largely 
by the line of the pediment over the door which rhymes with the line of the gable 
and of the entrance wing, and that in turn rhymes with the roof line of the body 
of the house. 


but sometimes designs for lace and embroidery and other 
handicrafts show this combination. Fig. 108 is an illustra- 
tion which shows what variety can be secured through using 
the simplest elements,—the dot and the line—and combin- 
ing them in these three ways. Upon looking at the band at 
the lower edge one finds that the undulating line through 
the center shows rhythm by means of the continuous line; 
above that the dot is repeated rhythmically. Note that the 
123 


Art in Every Day Life 





spaces between the dots have an interesting proportion 
when compared with the size of the dots. There is rhythm 
through progression of sizes in the wave-like line running 
through the wider open band of the lace, and it is interesting 
to see how this swift motion has been related to the borders 





Fie. 110.—Compare the orderly, rhythmic arrangement of the doors and windows 
on the side of this house with the jerky, distracting movement seen in Fie. 111. 


and given more of the appearance of a band by the repeti- 
tion of the small flower-like unit in each open space. 

Rhythm wm exterior design. Observe how the principle 
of rhythmic line movement comes into use in the design 
of a house. Perhaps it can be recognized more easily if 
one starts from a point where there is no apparent move- 
ment. When one looks at the outline of a square house the 
horizontal and vertical lines are of equal force, and so they 
balance each other. Compare with a square house a house 
which is made up of ells and gables. It is easily seen that 
there is a great deal of movement in the lines of this type 

124 | 


Rhythm 





of house, and if it is to be pleasing to the eye, that movement 
should be rhythmic. This irregular, rhythmic type of 
house design was very popular in England during the Tudor 
period, and many of our Colonial houses show a similar 
form of rhythm. In Fig. 200 one can see the rhythm in the 





Fig. 111.—Note the unrhythmic placing of the door and windows on the side of 
this house. 


lines of this modern adaptation of the English half-timber 
house, and Fig. 109 shows a modern adaptation of a Colo- 
nial house in which the rhythm is just as apparent as it is 
in verse or in music. When it is successfully handled there 
is something about the harmonious rise and fall of a rhyth- 
mic line in the design of a house that gives to it an informal 
and homelike quality. (See Figs. 10 and 80.) When many 
gables are used the architect is careful to have the angles of 
these gables, their placing, and the variation of their sizes, 
similar enough so that the eye will feel a relationship as it is 
led easily from one part of the house to every other part. 
125 


Art in Every Day Life 


Perhaps the one place in house design where lack of 
rhythm is most frequently seen is in the arrangement of 
door and windows on the side of the house. In working 
out a house plan one usually begins with the arrangement 
of the rooms and then places the doors and windows in 
order to secure the best light and air, and wall space for the 
furniture. Unfortunately these openings do not always 
look well in relation to each other after the house is built. 
A glance at Fig. 111 will show the danger of not having 
thought all the way through the problem of door and window 
arrangement to the point of foreseeing how they would look 
in the finished house. It is not difficult to balance doors and 
windows symmetrically in the typical Colonial house. In 
this style the stairway usually comes in the center of the 
house, the windows of each floor come on the same straight © 
line, and no striking line movement is created. But 
the problem becomes more complicated when there is 
a side stairway which needs light, a basement door on 
the level of the street, and windows to be placed in the 
first, second, and even the third floors. In Fig. 110 these 
openings have been so adjusted that there is a sense of 
order in the arrangement, while in Fig. 111 one recognizes 
that they have been considered only from the point of 
view of the interior plan. The result is that they form a 
zig-zag, unrhythmical line from the basement to the roof. 
Searcely any lines correspond to a common design, and 
the path which the lines make does not rhyme with the 
lines of the house. 

Rhythm in interior design. Passing from the exterior 
of the house to the interior one should ask how much move- 
ment would be enjoyed in the design of a house over a long 
period of time, and where rhythmic patterns and arrange- 
ments would be most pleasing. | 

It should be remembered that movement involves degree 
as well as kind, and in addition to avoiding uneasy, wasteful 

126 


Rhythm 





movement, and seeking grace and rhythm, there are times 
when it is desirable to have complete absence of movement, 
such as is found in plain surfaces in wall paper and carpets. 
It is very easy to imagine a wall paper or rug pattern with a 
bold, swinging, rhythmic line which is very agreeable when 
seen in a small piece. But when it is repeated over so large 
an area as the whole wall or floor it shows too much action, 
and fails to make a successful background for the other 
things in the room. Since so many things are seen against 
the walls and on the floors the best choice for the coverings 
are either plain surfaces or designs. which are so quiet in 
effect that they will be backgrounds in every sense of the 
word. One can enjoy more emphatic rhythmic movement 
in small areas, such as curtain materials, or in cushions, 
than in wall papers and rugs. 

Wall coverings. The ideal background against which 
pictures and other objects are to be placed is one which 
has a suggestion of texture, but no definite line movement. 
For this reason the stippled papers make excellent walls. 
An illustration of this kind of paper is seen in the background 
of Fig. 273. After the stippled paper, and similar broken 
textures, such as are seen in sand-finished walls and in 
grass-cloth, comes the paper with a pattern which shows 
just a vibration of light and dark and pattern, but not a 
noticeable movement. (See the background in Fig. 3.) 
Conspicuous diagonal lines make the poorest kind of design 
for walls because they create rapid action in opposite di- 
rections. (Fig. 112.) If a line design is desired it is better 
to choose a good stripe than a diagonal pattern. In a striped 
paper the lines are closely related to the structural lines of 
the room, and if the lights and darks of the stripes show an 
easy transition from one to the other there will be an agree- 
able amount of movement which is not inconsistent for a 
background. (See Fig. 235.) As the contrast between the 
lights and darks in the stripes increases it would be found 

127 


Art in Every Day Life 








that the movement would increase correspondingly, and 
the paper would become less desirable for a background. 
‘Floor coverings. Since floors should make a quiet base for 
the room, the same good judgment should be used in the 
selection of the designs for the floor coverings as for the 
walls. A comparison of the two rugs in Figs. 113 and 159 


Fie. 112.—Diagonal lines in wall paper have nothing in common with the lines 
of the room and they create too much distracting movement to be suitable as a 
background. 


will demonstrate that the eye travels along the lines of a 
design. Where these lines are conspicuously diagonal, 
contradicting the structural lines of the room, they become 
very annoying. ‘This is especially true when they contrast 
with the background in their light and dark values. (Fig. 
113.) On the other hand, where the lines of the design 
follow, or rhyme, with the lines of the room, the movement 
that results is agreeable. As with the wall covering, the 
128 


Rhythm 


most successful carpet designs are those which merely show 
interesting texture, and perhaps a vibration of pattern and 


color. 
When the amount of movement that is desirable for walls 






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Fig. 113.—When crossing diagonal lines are repeated over a large surface the 
pattern is apt to become very distracting. These designs are especially confusing 


if there is a strong contrast of light and dark. Such patterns are poor for wall and 
floor coverings, which should appear flat and show little or no movement. 


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and carpets has been decided one is ready to think of the 

design of the furnishings. The first requirement of a good 

design is that it be suitable for its purpose, and this must be 

considered before the type of design is selected. In the 
129 


Art in Every Day Life 


figured pattern of a drapery material used in a room which 
has plain walls, a rather greater degree of movement may 
be allowed than would be pleasant for walls and rugs. Here 
the area is comparatively small, and the material hangs in 
folds which break up the definiteness of the movement of 
the design. (See Figs. 221A and B.) ‘The curved stems of a 
bouquet of bittersweet might show even more striking 
rhythm than the design in overdrapes. This rhythmic 
line would bring gayety into the arrangement, and would 
be enjoyable because the area is so small that one would 
not tire of it, as one would of a large amount. (Fig. 239.) 

Furniture design. When a person selects furniture he 
prefers to have his pieces show stability rather than move- 
ment, and so he selects either straight lines, or restrained 
curves which are both strong and graceful. Too much 
straight line will result in monotony, and this becomes more 
noticeable if several straight line pieces are used together. 
A room furnished with Mission furniture shows how tire- 
some the straight line may become when it is unrelieved 
by the curve. Curved lines give movement, and if they 
are exaggerated, or are used in too many pieces of furniture, 
the room will look restless. \ The ideal design for furniture 
is one in which there is enough of the straight line to give 
dignity and stability, and enough of the rhythmic curve to 
relieve the severity of the design.) (See Fig. 12.) It should 
be remembered that too much movement, even if it is rhyth- 
mic, is undesirable, and the Greek’s motto ‘Nothing in 
excess’’ applies to rhythm as well as to every other expres- 
sion in art. It is easy to get beyond the grace and refinement 
of the slightly rhythmic line to a point where the curves are 
so extreme that the effect may approach vulgarity. The 
three chairs in Figs. 114, 115, and 116, were designed by 
Thomas Chippendale and show that even the work of so 
famous a designer may be very unequal in quality. Fig. 
114 shows lack of rhythm. Fig. 115 is a beautiful example 

130 


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Rhythm 


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Art in Every Day Life 


of rhythm gained through repetition, as seen in the ladder 
back, and of the rhythm which comes through the rhythmic 
progression in the sizes of the carved motifs which are seen 
in each of the cross pieces of the chair back. This chair 
shows dignity, refinement, and grace of line, combined with 


Ser siesta q 





Fia. 117.—The fireplace in this room has been made more important by the way 
in which the furniture has been arranged. Note that all the lines lead the eye 
directly to this center of interest. There is a pleasing variety in the progression 
of the sizes of the objects on the mantel, and a subtle proportion in the spaces 
between the objects. 


‘beauty of proportions. The chair in Fig. 116 shows rhyth- 
mic lines so extreme that it is entirely lacking in restraint 
and dignity. Furthermore, it does not suggest the function 
of a chair. 

Furniture arrangement. When one has learned to recog- 
nize rhythm he will discover that its use in arranging the 
furnishings in a room goes a long way toward giving that 
room fine quality and an impression of liveableness. On the 

132 


Rhythm 





other hand, there is a scattered, unsociable effect in a room 
where the furnishings are not placed with regard to line 
movement. One of the fundamental principles in the ar- 
rangement of furniture is that it should be grouped according 
to its. use. A knowledge of shape harmony will lead one to 
place the main lines of each group so that they will conform 
to the lines of the room, but one needs to know how to con- 
trol the movement of the eye if the effect is to be perfectly 
successful. The furniture and decorative objects should 
be so arranged in the room that the eye will be carried along 
each piece toward a center of interest where it is desired 
that the eye should remain at rest for a while. Any point 
in the room which is considered interesting or important 
may easily be emphasized by the way the furnishings are 
arranged. If the fireplace is the favorite spot, the strongest 
movement made by the lines of the furnishings will carry 
the eye there. Ifa group of windows 1s particularly admired, 
the eye may be led there. Or if the bookcase is the most 
attractive spot in the room the leading lines will be so placed 
that the eye will go there first of all. This is illustrated in 
the living room in Fig. 117, where the furniture has been 
grouped around the fireplace for the sake of sociability, 
and the lines of each piece carry the gaze directly to the 
point which the designer believed to be of greatest interest 
in the room. 

Arrangement of pictures to gain rhythm. It is not enough 
to use the rhythmic movement gained through grouping, 
but every separate object in the room should be examined 
for its line movement before it is placed. It would be inter- 
esting and profitable for decorators and advertisers to watch 
the audiences attending a series of talks in a lecture room. 
In this room there are two portraits just above the speaker’s 
desk. A profile portrait of Washington at the left faces 
out to the left, and a profile portrait of Lincoln at the right 
faces toward the right. This creates a movement on both 

133 


Art in Every Day Life 





sides of the desk which carries the gaze away from the 
speaker. Even the ablest speaker is handicapped in that 
room, and an average speaker finds it very difficult to hold 








Fic. 118. A. Movement directed away from a group destroys the unity of the 
arrangement. B. Movement kept within a group unifies an arrangement. 


the attention of his audience because the unrhythmic move- 
ment caused by the placing of the pictures carries the eye 
away from the speaker so forcefully that it soon becomes a 
positive annoyance to anyone who is sensitive to line. 
With the position of the portraits reversed the speaker 
would actually be helped in holding his audience, by the 
powertul force of line movement. 
134 


Rhythm 


Since most pictures and objects carry the eye in some 
definite direction, the person who is to place these things 
should know how to make the best use of this movement. 
Compare the arrangements of flowers and pictures on the 
bookease in Figs. 118A and B. If the flowers in ““A”’ attract 























A & B 9 
Fig. 119.—Costumes of 1919. In A the movement is entirely consistent and 
related enough to be agreeable, while in B the eye finds three different directions 


to follow in the sleeves, four in the waist, and four in the lines of the skirt. The 
result is so confusing that it is tiring. 


the attention first the eye travels from them to one of the 
pictures. It is then led out to the wall, and in order to 
enjoy the other picture a conscious effort is made to bring 
the gaze back to it. The movement in that picture leads 
the eye to the other wall, so that these opposing movements 
pull away from each other, and the group is divided into 
three separate attractions. In the arrangement in “B” 
135 


Art in Every Day Life 


the pictures are reversed, and their action helps the eye to 
stay within the group. No matter what attracts the atten- 
tion first, it is carried from one thing to another, but always 
back again into the group, and the rhythmic movement is 
completed. 

Rhythmic movement in dress. Rhythmic line movement 
does ss to make a woman’s costume beautiful. The 
charm of the Japanese kimono Is very largely due to the easy 
grace of its curves, and when rhythm is seen in modern 
dress it is likely to give the same pleasurable quality. The 
dress in Fig. 119A has a rhythmic line in the waist kas its 
characteristic note, and there is an echo of the same move- 
ment in the skirt. Curved lines have more relationship to 
the human figure than angles have, and for that reason a 
series of rhythmic lines is more pleasing than a series of 
angles in dress. But, even though curves are agreeable, 
they must be used with economy. The free swing of the 
Japanese costume must be subdued for the American, al- 
though the spirit of its line may be retained. To use ryth- 
mic lines successfully in dress one should choose one place 
on the costume for the most emphatic curve, and then keep 
all the other lines simpler. Knowledge of the effect of line 
movement in giving the appearance of altering proportions 
will make the designer select either a dominant horizontal 
or a vertical movement for the person who is to wear the 
dress. (See Figs. 63 and 64.) After this direction has been 
decided, all the other lines of the dress will be subordinated, 
and the rhythmic lines will be used to soften the other lines 
of the dress. If the rhythmic line has been chosen for the 
waist, as in a fichu or surplice, the lines of the skirt will be 
simple—either a slight suggestion of curve, as in Fig. 119A, 
or a straight line. When there are cross lines in the waist, 
angles and straight lines in the skirt, and unrelated curves 
in the sleeves, there is bound to be lack of rhythm, as in 
Fig. 119B. a 

136 


Rhythm 





Just as furniture may be arranged to lead toward the 
important centers in a room, so may a dress be planned to 
make the most of the wearer’s good points. A costume may 
have lines which will carry the eye directly toward any 
feature that the designer may wish to emphasize, and away 
from anything to which he does not wish to call attention. 
Lines which lead rhythmically to the face may be secured by 
the use of bands of trimming near the face or by the outline 
of collars and necklaces. All these seem to form a frame which 
holds the eye near the face and centers the attention there. 

There is another aspect of rhythm which should not be 
overlooked when one is speaking of rhythm in dress. Dress 
should not be considered apart from its use, and no matter 
how beautiful its design may be, if it is not useful, it is not 
successful. When the dress is so tight at the waist, sleeves, 
or skirt that it interferes with the rhythmic movements of 
the body it has violated the principle of rhythm just as much 
as 1t would have done had its lines lacked rhythm. The 
skirt in Fig. 119A is as narrow at the bottom as it can safely 
be, while the one in Fig. 119B would really cause the wearer 
to “‘hobble.”’ 

Rhythm in store displays and advertising. Of all the people 
who are working out arrangements the window designer 
and the advertiser have the greatest responsibility for know- 
ing how to control the movements of the eyes. A designer 
whose display carries the eye away from something impor- 
tant is actually wasting his firm’s money. In every display 
there are some major and some minor attractions, and often- 
times some rather unimportant objects which are used to 
fill in. In some displays there is such lack of organization 
that the eye is not led to any particular point, and there is 
utter confusion. If the designer had known how to handle 
line, these objects could have been so placed that they would 
lead the attention to the major attractions, and yet every 
separate thing could have been more easily seen. 

137 


Art in Every Day Life 








Fic. 120.—Place anything upon or against a plain surface and notice how the 
eye will travel along paths which have been created by the arrangement. For the 
sake of beauty and for economy of effort these paths should be easy to follow with- 
out being so rapid as to cause annoyance. In the window above, every line leads 
to another part of the display. 








Fig. 121.—If the eye jumps restlessly from one spot or line to another or in too 
many directions there is lack of rhythm and wasted energy. In this arrangement 
the paths which are created lead in so many directions that the eye must make 
several attempts to see the entire display, and few people will take that trouble in 
passing by. Groups which make steps leading toward ceilings or outside walls are 
to be avoided. 


It has been shown that when a group of lines or objects 
is put against a background the gaze has a tendency to move 
along them. If the eye finds an easy and connected path 

138 


Rhythm 








to travel, the arrangement is said to be rhythmic, and this 
is the most effective as well as the most economical kind of 
movement. On the other hand, if the eye moves in a jerky, 


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Fic. 122.—Somebody else is getting the benefit of the cracker advertisement 
because the line of the crackers leads the eye to the candle shade. 


restless, or disconnected manner, the group lacks rhythm, 
and such arrangements do not hold the attention. There 
is rhythm in the store window arrangement in Fig. 120, and 
one has the same impression that he would have if he were 
watching the drill of a well trained military company. The 
arrangement is orderly, and the gaze is carried along a 
charted line of travel, so that everything in the window is 
made to count, and one sees everything in its proper rela- 
tionship. Looking at Fig. 121 is like watching a crowd of 
139 


Art in Every Day Life 





children on a playground. The same materials have been 
used in both windows, but the effect of the latter is a bewil- 
dering maze, and the eye is confused by the network of 
unrhythmic paths. 

The application of this principle of aieatan to advertising 
is very obvious, and a glance at Fig. 122 will show the 
inefficiency which results from the inability to control line 
movement, as compared with the successful use of line in Fig. 


THE CHILDRENS SHOP 





Fic. 123.—In this car-card the illustration forces attention upon the line “The 
Children’s. Shop.” 


123. These examples show that lines, lights and darks, and 
colors should be so arranged that the eye will go more or 
less rapidly to the point where the attention should be 
directed. ‘They also show that it is possible to use rapid 
movement very effectively if it 1s understood and controlled. 

SummMARY. It is hoped that the applications of rhythm 
which have been noted here will lead the reader to the con- 
viction that all selections and arrangements should be able 
to meet the following standards for rhythm: 


(1) There should be lines or paths to carry the eye easily and 
pleasantly from one thing to another until every detail has been seen 
without effort. 


(2) The larger the space the less pronounced the movement should 
be, even though this movement is rhythmic. In very large areas, as 
in floor and wall coverings, the effect should be practically that. of 
plain surfaces, so that the eye will not become fatigued. 

140 


CHAPTER VII 
EMPHASIS 


The eye and the mind do not enjoy a haphazard collection 
of shapes and colors. There must be pattern or design in 
all arrangements, and in a pattern everything which is used 
must take its proper place in relation to the whole scheme. 
Emphasvs is the art principle by which the eye is carried 
first to the most vmportant thing in any arrangement, and from 
that point to every other detail in the order of its importance. 

Whenever any object is selected or arranged with reference 
to its appearance, this principle of emphasis is used, and the 
success of the result depends upon a knowledge of: 


(1) What to emphasize. 

(2) How to emphasize. 

(3) How much to emphasize. 

(4) Where to place emphasis. 

Simplicity the most important factor in emphasis. Although 
it may seem paradoxical, this Principle of Emphasis might 
be termed Simplicity, because almost invariably the rule as 
to how much emphasis it is well to use is to keep things 
simple. Next to appropriateness for its purpose, the best 
quality of any object is simplicity. Without exception, 
the standards for judging objects which are to be used are: 

(1) Utility, or suitability to purpose. 

(2) Simplicity. 

(3) Beauty. 

Nowadays, in turning to historic art for standards of beauty, 

one finds that when one seeks inspiration and standards for 

simplicity, two periods of the history of art stand foremost. 
141 


Art in Every Day Life 





These two are the best periods of Greek and of Japanese art. 
Simplicity is really the keynote of these two great schools, 
and if only one can capture that spirit of reserve—of sim- 
plicity—he will find that he has the most important single 
factor in art. The way to achieve simplicity is to under- 
stand emphasis:—the principle that there should be only 
one outstanding idea in any scheme, and that all others 
should be subordinated. (See Figs. 43, 129, and 105.) 

It recuires great effort to transfer one’s attention from 
the simy ::city and nobility of Greek art to the turbulence 
of a circus; yet there is just that difference in many attempts 
to work out practical art problems. Many rooms and any 
number of costumes are literally three-ring circuses. There 
is the woman who wears white shoes and black stockings, 
a plaid skirt, a figured waist, and a much-flowered hat; and 
everyone has seen the room with figured wall paper freely 
— hung with pictures, carpeted with conspicuously patterned 
rugs, and still further confused with figured furniture covers, 
crowded shelves and bric-a-brac. Why are these combina- 
tions so bad? Because people have not been content to 
choose one outstanding feature in the room or the costume 
and subordinate the others, but have put equal emphasis 
upon all; and the result is chaotic. 

What to emphasize: subordination, and the law of back- 
grounds. ‘The principle of emphasis states that attention 
should be called to the different parts of a design in the order 
of their importance. In working for any degree of success 
in arranging materials one must form a definite plan and 
keep to it. In making this plan decide first upon the most 
important feature of the group, then upon the one which 
should take second place, and so on until the last detail 
has been classified. To carry out the plan in the arrange- 
ment, first call attention to the important things, and sup- 
press or subordinate those which are less important. In 
each field of decoration the most important features may 

142 








Emphasis 


vary, but the one which should have the least emphasis 
is always the same: it is the background against which 
objects are to be seen. From this observation we may draw 
one of the most important laws in art: Backgrounds should 
be less conspicuous than the objects which are to be seen against 
them. 

How to emphasize. There are several means by which 








Fig. 124.—ADORATION OF THE Lams, by Hubert and Jan Van Eyck. (Courtesy 
of the University Prints, Boston.) 

This composition shows that many objects can be used successfully in one scheme 
if they are grouped to form clearly defined centers of interest with enough plain 
space around each group. Here a main center of interest—the Lamb and angels— 
is supported by subordinate centers, each of which takes its place in the order of its 


importance. 


one may create emphasis, or attract attention, and the 
most important of these are: 

(1) By the placing or grouping of objects. 

(2) By the use of contrasts of light and dark or color. 

(3) By using decoration. 

(4) By having sufficient plain background space around 
objects. | 

(5) By unusual or unexpected lines, shapes, sizes, or 
colors. 

143 


Art in Every Day Life 





Sometimes all five of these methods may be combined in 
one single design, as in a design for a building, a room, or 





Fic. 125.—Tue Coronation, by Giulio Romano. (Courtesy of Anderson, Rome.) 
In this composition there are two centers of interest which are of equal impor- 
tance, and so the picture cannot be seen as a unit. 


in a design for a very large store window. Usually, however, 
one, two, or three of these means will give all the force that 
is needed. 


144 


Emphasis 


Grouping or placing of objects. The “‘Adoration of the 
Lamb” (Fig. 124) is an outstanding example of emphasis 
gained through grouping. ‘There is a profusion of detail 
in this picture, and yet the details have been so carefully 
organized that the plan of the composition makes a single 
impression. The eye is first attracted to a main center 
of interest,—the Lamb surrounded by the circle of angels— 
which seems to have an added importance because of the 
plain space around it. Then there are the two balancing 
groups below this on each side, which are next in importance. 
Although there are more people in each of these groups, 
they attract less attention than the central group because 
they are so close together that they are seen as a mass. The 
small groups above have even less importance, and so 
throughout the picture each subordinate group or object 
takes its proper place, and all the elements are welded to- 
gether into a unit. Additional emphasis has beensgiven to 
the main center of interest because the principal lines in 
the picture lead the eye toward that point. Although there 
are fewer figures and less detail in ““The Coronation” (Fig. 
125) than in “The Adoration of the Lamb,” the picture 

does not present a single effect. Here are two centers of 
~ equal importance, and the result is that the picture divides 
into two separate compositions. Arrangements will be 
clear and easy to grasp if the principle that there should be 
but one main center of interest in any scheme is followed. 
(See Figs. 45, 212, and 139B.) 

Emphasis through contrasts of light and dark and color. The 
eye Is quickly attracted by strong contrasts of light and dark, 
or by contrasting color, and one of the most striking ways 
of calling attention to any object is to place it against a 
background with which it contrasts. Rembrandt obtained 
a dramatic quality in his “Presentation in the Temple” 
by the way in which he distinguished his main center of 
interest with strong lights, and subdued the rest of the 

145 


Art in Every Day Life 


picture by suffusing it with gradually deepening shadows. 
(Fig. 126.) It is interesting to note how this master of the 
use of lights and darks prevented the harshness which is 





Fic. 126.—PRESENTATION IN THE TEMPLE. Rembrandt. 
A picture in which the attention is called to the main center of interest ana held 
there because of the strong contrast of light and dark. 


likely to come with strong value contrasts by balancing 

the large areas of strong light with small notes of light placed 

in other parts of the picture. A valuable lesson may be 

gained by a careful study of this picture: if strong contrasts 

of light and dark are to be used in any decorative scheme 
146 ; 


Emphasis 





of a considerable size, they should be tied together. This 
‘can be done by combining with them a large amount of 
some intermediate steps of light and dark values which 
come somewhere between these two extremes. The final 
effect of a good composition should be that of a dark scheme 
accented with lights, or of a light scheme made interesting 
through its dark notes. The arrangement which shows 
equal amounts of light and dark would not be pleasing be- 
cause it would be as confusing as two equal centers of in- 
terest such as are seen in “The Coronation” (Fig. 125). 
(See Fig. 226.) 

Emphasis gained through the use of decoration. Nothing 
could be more desirable than to have all decoration as well 
used as that which is found on the Parthenon. (Fig. 43.) 
This building sets a remarkably high standard in the use 
of decoration as a means of gaining emphasis. It shows 
how the eye is attracted to pattern, and also shows the 
complete satisfaction which comes from an economical use 
of the right kind of emphasis. The chapter on Structural 
and Decorative Design outlined the need for a fine form or 
structure in any object before decoration was even con- 
sidered. This fine form having been obtained, the worker 
may decorate it in such a way that the beauty of the struc- 
ture will be enhanced. There is perhaps no better example 
of the subordination of decoration to structure than in the 
carvings on the frieze of the Parthenon. Here the struc- 
ture suggested the place for the sculpture, and, although 
the beauty of the building is not dependent upon the carv- 
ings, added interest is given by their introduction. 

Occasionally one finds a highly decorated object that has 
been made for no other purpose than to please the eye. If 
it is truly beautiful it has reason to exist, and one frequently 
brings an object of this sort into decorative arrangements 
in order to lend a certain note of emphasis, either through 
its color or its fine pattern. Jewelry is an illustration of this 

147 


Art in Every Day Life 





type of emphasis in dress. A pendant, for example, may 
be rich in jewels and intricate in pattern. The choice of the 
proper gown on which to wear the pendant then becomes 
the art problem, for the pendant will be thought of as the 
center of interest on the dress, and will bear the same rela- 
tionship to the dress that the carvings on the frieze bear to 
the Parthenon. The Chinese vase shown in, Fig. 9 is an 
example of a similar note of emphasis in a room. It is a 
thing which is to be enjoyed for its own beauty, and should 
not be used as a container for flowers. 

Emphasis in surface patterns. A good surface design has 
two main characteristics. First, the pattern should closely 
cover the surface, and second, there should be very little 
contrast between the lights and darks. One is constantly 
confronted with table linens, dress fabrics, wall papers, 
rugs and upholstery materials which have surface pattern. 
Unless choices are made with a complete understanding 
of how much emphasis may be secured through pattern, 
one is apt to make unwise selections, and discover that the 
thing which seemed attractive in the shop looks too con- 
spicuous when it is made into a dress or seen in the room. 
The two things, then, which are of greatest importance in 
selecting surface patterns are value contrast and the amount 
of plain space around each figure. The two previous topics 
showed, first, that if objects are packed together closely 
they attract less attention than when widely separated; 
and second, if there is a strong contrast between lights and 
darks an object is much more conspicuous than when the 
values are very similar. If these two considerations are 
kept in mind one will not go far wrong in choosing any sur- 
face pattern; if the design is closely packed, covering the 
surface well, and close in values, it will be quiet in effect. 
(See Figs. 159, 176, and 215.) 

Emphasis through plain space around objects. As one 
learns the value of using plain spaces, there comes a cor- 

148 


_ Emphasis 





responding change in the choice and arrangement of objects. 
Certain schemes begin to produce a peace of mind when 
they are seen—a most welcome contrast to the feeling of 
confusion and unrest caused by ‘crowded arrangements. 
Psychological experiments show that an individual has the 





Fic. 127.—G1ovaNNna TORNABUONI WITH VENUS AND THE GRACES, by Botticelli. 
(Courtesy of the University Prints, Boston.) 

Botticelli has called particular attention to the lovely Giovanna Tornabuoni by 
the large amount of plain space which he has left around her. This use of plain 
background is the most effective way to call attention to the fine qualities which 
anything possesses. 


capacity to enjoy only a limited number of things at one 
time, and that when this amount has been exceeded one 
actually sees less rather than more. Botticelli’s “Allegory” 
(Fig. 127) delights us with its exquisite beauty; it may be 
made to illustrate two important things about the principle 
of emphasis: 


(1) That an object gains importance when it is separated 
149 


Art in Every Day Life 





from the things around it and is given enough plain space 
for a background. 


(2) That when objects are placed close together they 
are seen as a group, and not as individual units. 


There is no question as to what Botticelli intended for the 








Fic. 128.—Triprycn, by Giovanni Bellini. (Courtesy of Anderson, Rome.) 

In this altarpiece emphasis has been centered upon the Madonna and Child in 
the central group by the use of the arch, which brings an unusual line into a com- 
position made up so largely of vertical lines. 


main center of interest in this picture, for the figure of the 
beautiful Florentine lady, darker than the background, 
and set off by plain space, attracts the attention immedi- 
ately, while Venus and the three Graces have been grouped 
to form a secondary center of interest. This use of plain 
spaces is one of the most important considerations in Em- 
phasis, because plain backgrounds bring out the quality 
of every object seen against them. (See Fig. 227.) 
150 


_ Emphasis 





Emphasis gained by means of the unusual or the unexpected. 
In the beautiful altarpiece by Bellini, shown in Fig. 128, 
three separate pictures form a single unit; the three are of 
about the same size, and there is practically the same amount 
of value contrast in each group, yet we immediately recog- 





Fic. 129.—Door or THE Nortu Porcu, ERECHTHEUM, ATHENS. (Courtesy of the 


University Prints, Boston.) 
The doorway of the Erechtheum shows perfection in its emphasis. This door- 
way has not been excelled in the history of art for the beauty of its spacing and the 


quality of its decoration. 


nize the importance of the Madonna and Child. This has 
been brought about by the central placing and by the un- 
usual line of the arch thrown over the top of the central 
portion, which captures and holds the attention. 
In order to discover how much force there is in anything 
unusual, glance quickly at a shop window or a table full 
151 


Art in Every Day Life 





of new books in their paper covers, all spread out in a book 
store, and see what attracts the attention first. After 
noting the order in which these things catch the eye, look 
again to see what features the objects possessed which made 
them outstanding. ‘This may be seen from a description 





ES oi 


Fic. 130.—Tue Loaaia Deu Biaatio, after designs’ by Andrea Orcagna. 
(Courtesy of Smith and Packard, Chicago.) 
While there is more carving in this doorway than in Fic. 129, there is still a feeling 
of reserve. The decoration is beautiful in itself, and it ‘is beautifully placed. 


of a certain table on which there are about twenty books 
in paper covers. This table is not large and so the whole 
group can be seen at a single glance. In the assortment. 
of a month’s new books, the covers vary from light to dark, 
from gay to dull, and every one has a different design. The 
first book to attract the attention has a checkerboard pat- 
tern of dark blue and white, with each check about five- 
152 


Emphasis 





eighths of an inch square. ‘The second book to be noticed 
is a brilliant orange, and the third an unusual poster head 
against a plain background. ‘The other covers are much 
more nearly equal in their appeal, though some of them are 
so quiet in their effect, with their orderly arrangement of 


ae 
ss 
x 
oot 
a 
ae 
Bo 





‘ ’ > d B Red 5 ‘ ae 
Fie. 131.—Dertai, or Doorway To THE PALACE OF THE DUKE oF AGUAS. 
(Courtesy of Smith and Packard, Chicago.) 
All restraint was abandoned in the design of this doorway, and the result is that 
the decoration overpowers the architecture. 


printed matter and conservative color, that they seem will- 
ing to wait for the consideration which is due their quality. 
What makes these books stand out beyond their neighbors? 
~ The first has a very striking and unusual contrast of light 
~and dark, the second a conspicuous color, and the third 


~ has an unusual pattern set off by plain space. Thus one 
153 


Art in Every Day Life 





sees that anything which is unusual in line, shape, color, 
or size will become emphatic. 

This type of emphasis is applied in underlining words in 
a letter or capitalizing them in print. Newspaper headlines 
show the power of emphasis through unexpected sizes. 
In any design this unexpected force may be gained through 
a change in size or shape, or by an unusual line or color. 
When the force of the unusual is not recognized by the 
designer, attention is apt to be called to something which 
should not be emphasized. 

How much to emphasize. In order that one may get a 
general as well as a comparative idea of how much emphasis 
is desirable in the different fields of applied design, various 
problems will be discussed in each of these fields. Because 
the suitable amount of emphasis varies with every problem, 
emphasis may be regarded as a graded scale, and the greatest 
amount of force that can be used with good taste for each 
of these types will come at a different point on this imagi- 
nary scale. Surfaces which are to be considered as back- 
grounds against which other things must be seen should 
register emphasis at a point near zero in the scale. The 
person who wishes to be sure of securing fine quality in 
his work will usually stop short of the full amount of empha- 
sis which it is possible to use, and try instead to create an 
impression of having held something in reserve. The three 
doorways which are seen in Figs. 129, 130, and 131 have been 
chosen to show three steps on this imaginary scale. The- 
design of the Erechtheum is one of the most perfect examples 
of emphasis known. In this doorway all irrelevant details 
are omitted, and only enough emphasis is used in the design 
to suit the dignity of the entrance to a temple. Observe that 
the greatest amount of carving is placed upon the head of the 
doorway, and the beautifully spaced rosettes carry the 
emphasis down, making the frame of the door subordinate 
to the head. With all its simplicity and reserve of decoration 

154 


Emphasis 


there is no suggestion of barrenness in the design; it has 
not come too low in the scale, for its beautiful proportions, 
the rhythmic repetition of all its parts, and its subtle variety 
in light and shadow, are characteristics of a masterpiece. 
The doorway by Orcagna comes up toward the middle of 
the scale of a possible range for good emphasis. Orcagna 
did not go as far as he dared—he preferred to leave us with 
the impression that he had power and that it was well 
under his control. In the doorway of the palace at Valencia 
the architect has thrown off all restraint. He has indulged 
in an orgy of decoration which is similar in type to the room 
and the costume which were described in the first part of 
this chapter. This amount of carving goes far over the 
limiting mark on this graded scale of emphasis of which 
we have been speaking. Let us repeat that the best general 
answer to the question ““How much emphasis will it be well 
to use?”’ is “Keep it simple.” 

Emphasis in exterior design. The materials of which a 
house is built should influence the amount of emphasis 
used in its design. If more than one kind of material is 
to be used, care should be taken to keep one of these dom- 
inant. One should see at a glance that a house is brick 
with a stone trim, or stucco with a brick or a wood trim. 
Equal amounts of two or three materials, such as stucco, 
brick, and wood, divide the interest and make a house 
appear disorganized. If one material prevails and the other 
is used merely for emphasis, unity results. The different 
types of building material supply varying amounts of em- 
phasis, and just as the interior designer plans where to use 
plain surfaces and where to employ pattern, the architect 
considers the possibilities of brick, wood, and stucco, and 
finds that some materials supply all the emphasis that is 
needed in an exterior, while some are so plain that color 
and pattern may be added for additional emphasis. When 
stones or bricks are joined by lines of mortar a pattern is 

155 


Art in Every Day Life 





formed which will be more or less emphatic, depending 
upon the contrast between the building material and the 
mortar. The most successful houses are those in which 
there is no striking difference between the color of the mortar 
and the brick or stone, and in which the architectural design 
is kept simple, in order that the texture and the color of 
the walls may supply the emphasis. Walls of shingles or 
clapboards have less pattern than most masonry walls, 
and if they are stained or painted white or a neutral color, 
make pleasing wall surfaces. If stucco is used to finish the 
walls of a house, its color and texture should be carefully . 
selected. The most desirable texture for the average house 
is one which is neither so rough that it will appear too 
emphatic for the size of the house, nor so smooth that it 
will be glaring. Since walls are backgrounds they should 
be simple, and all exaggerated treatments, such as con- 
spicuous marks of the trowel, should be avoided. A mod- 
erate amount of vibration of color and of light and shadow 
which comes from slight irregularities in texture is desirable 
for the stucco wall. (See Fig. 10.) 

Natural earth colors make good cement walls, and the 
warmer, lighter colors, such as the dull earthy yellows, are 
more pleasing than the cold grays. Undesirable colors for 
stucco houses are red, bright pink, strong yellow, dark 
browns, and bluish grays. The advantage of using a rather 
light color for stucco is that it makes a good background 
for colored shutters or window trim, and for the planting 
which is to be seen against it. In designing a house of stucco, 
one should consider the patterns which the shadows of all 
projections will form against the walls, for they are impor- 
tant elements in design. If, for example, a roof is well- 
scaled its shadow will make a pleasing break against the 
walls, as in Fig. 201, but if it is too heavy the effect is over- 
powering. The broad expanse of practically plain surface 
makes it possible to enjoy thoroughly the shadows of trees 

“ 156 


Emphasis 


against the walls in summer, and the pattern of the branches 
in winter. A few vines growing up the side of a light stucco 
wall make a delightful tracery, and a color contrast that is 
gratifying; the color and pattern of flowers, such as holly- 
hocks, zinnias, or larkspur against these plein walls may 
form a series of delightful pictures during the greater part of 
the year. (See Fig. 20.) 

If there were such a thing as a “well-bred house,”’ it 
would not be hard to describe. Or, to state it negatively, 
one knows what it would not look like. It would not look 
like Fig. 11 in the chapter on Structural and Decorative 
Design. It would look very much more like Figs. 10, 62, 
and 79; and the reasons are evident. The quality of these 
houses is very largely due to the amount of emphasis that 
has been used. Simplicity is essential to good design in a 
house because of its size. A glance at the house in Fig. 11 
shows how easy it is to over-emphasize decoration in a 
building. A comparison of the two houses in Figs. 10 and 11 
shows that there must be rest spaces in the design of an 
exterior; for if the walls are all broken up by windows and 
trim there is an effect of confusion due to over-emphasis. If 
the wood trim in Fig. 11 had not been painted white and 
thus made to contrast so emphatically with the house, its 
poor design would not have been so conspicuous. This 
leads to a very important principle in house painting. 
Where the openings and the trimmings of a house are not 
beautiful, and particularly where they are not perfect in pro- 
portion, they should be painted the same color as the body of 
the house. Or, if for some reason it is particularly desired to 
have them another color, they should be practically the same 
value (degree of lightness or darkness) as the house itself. 
Never pick out shapes on the walls of a house with a con- 
trasting value unless those shapes are really beautiful; and 
even then be very careful that there are not so many of 
these openings that they will create too much emphasis. 

157 


Art in Every Day Life 





Some well painted trims are shown in Figs. 80, 109, and 
196. 

Since it is usually desired that the center of interest of 
the house should be the entrance, let us note the various 
ways in which it may be emphasized. The traditional 
methods seek to give the appearance of increasing the size 
of the doorway by the use of columns, a hood, or a small 
stoop. Vines also give emphasis, as well as a softening, 
informal effect. The walk leading to the entrance helps to 
emphasize it; and additional emphasis may be secured if 
the walk is supplemented by good planting. This may 
consist of a border of flowers or a low hedge which follows 
it, or it may be a small group of shrubs at the beginning 
of the walk, and another near the house. 

Emphasis in planting. There is the same need for sim- 
plicity in the design of the planting around the house as 
applies to the design of the house itself. The effect must be 
simple even though many trees, shrubs, and flowers are 
desired. Simplicity can be secured by grouping the plants 
at structural points; specifically, around the base of the 
house and out at the boundaries of the yard, in much the 
same manner as that in which the Van Eycks grouped their 
figures in the “Adoration of the Lamb.” (Fig. 124.) A 
yard, however, must have much more empty space than is 
needed in a picture. Well planted grounds, whether large 
or small, need plenty of clear, open spaces. Plants or bushes 
and flower beds which are scattered about over the lawn 
over-emphasize a yard to such a degree that it seems fairly 
to bristle, and it does not make an appropriate setting for 
the house, which should be the center of interest. 

Emphasis in interior design. Nowhere are the effects 

of over-emphasis so trying as in the home. In rooms in 
* which people remain over long periods of time, a subtle 
type of decoration can be appreciated, whereas a more 
dramatic decorative scheme is suited to rooms in which 

158 


Emphasis 





one spends but a few moments. In the tea room a dra- 
matic scheme is enjoyable, but not many would care to spend 
their lives in an atmosphere which is so stimulating. The 
amount of emphasis suitable for interiors is, of course, most 
difficult to state definitely. It must vary with the room, 
and with the people who live init. But although we cannot 
make an exact recommendation, we know what has been 
successful in average cases. ‘The proportion of emphasis 
to rest space In a room should be approximately the Greek 
proportion of two parts to three,—that is, two parts of 
attraction in pattern and three parts of empty space in 
which to rest the eye. This does not mean that with two 
pieces of figured upholstery fabric, one of which had a 
quiet surface pattern of two tones, and the other a striking 
design in strong color, we should use two parts of either one 
against three parts of plain background. It means that a 
very much smaller amount of the striking pattern would 
be used as compared to the simpler pattern, because as a 
whole there should be two parts of attraction, not of pattern. 

Distribution of emphasis in a room. With a definite pro- 
portion to work with, the next thing that the designer must 
decide is where and how to make the distribution. There 
are many possibilities, which is exceedingly fortunate; it 
gives one the opportunity to express his individuality fully, 
and does away with the sense of being held down by rules. 
Suppose that one decides to take three parts of plain space 
in walls and rug. That leaves the possibility of selecting 
figured draperies and furniture covers, pictures, and some 
decorative objects, so adjusted in their various attractions 
that the sum of them all will be less than the restfulness of 
the background. If the walls have a good pattern and the 
rugs have some design, then it would be essential to choose 
plain drapes and plain furniture covering, with the possibil- 
ity of using a bit of pattern in a cushion and some decora- 
tive details. The first plan of plain walls and floor is much 

159 


Art in Every Day Life 





more apt to be successful than the one in which patterns 
are used in walls and rugs, because there is an opportunity 
to make more individual choices in the smaller things. . 
Figs. 23 and 206 show different ways of working out the 





Fic. 132.—Confusion results from the use of a background which is as striking 
as the objects placed against it. The candlesticks on each side of the vase have 
almost lost their identity because of the overpowering pattern of the background. 
The vase is a large solid mass, darker than the general effect of the background, 
and so it can be seen, but its design cannot be fully appreciated because the designs 
around it are so emphatic. 


plan of two parts of pattern to three parts of plain space. 
In Fig. 206 the walls have an inconspicuous stripe giving 
the effect of plainness, the rug is plain, and emphasis is 


placed in the draperies, the chair cover, and in the objects 
160 


Emphasis 








Fig. 133.—Emphasis is gained by having the background less conspicuous than 
the objects shown against it. Notice how the shape as well as the detail of each 
object can be fully appreciated against a plain background. The result is forceful, 
dignified, and beautiful. 


161 


Art in Every Day Life 





on the mantel. In Fig. 23 there is a suggestion of texture 
in the paper but no outstanding pattern, and the furniture 
covering is plain, while pattern has been used in the dra- 
peries and rugs. Fig. 132 shows that figured paper makes a 
poor background if one wishes to enjoy the objects placed 
against it. Would many people notice the pair of seven- 
branched candlesticks on each side of the vase? The candle- 
sticks do not have a chance for attention against this strik- 
ing background, and even the people in this room would be 
eclipsed. It would not be possible to get enough plain 
space into a room to keep the Greek proportion of two parts 
of emphasis to three parts of rest space if this paper were 
used. Compare this with Fig. 133, where the emphasis 
is placed as more people enjoy seeing it. ‘The walls and floor 
are plain, and so all the beauty of the furniture, the pic- 
tures, and the decorative objects can be enjoyed. Since 
there is a limit to the amount of pattern which should be 
used in a room, one should decide carefully as to where it 
will be enjoyed most, and then be sure to subordinate the 
other things in the room so that the pattern may be appre- 
ciated. 

It may be interesting to know that most good decorators 
use the following plan for the relative importance and 
amount of emphasis to be given to the various articles used 
in house furnishing. The observer should be conscious first 
of the decorative objects, such as the books, pictures, or wall 
hangings, and lamps, candlesticks, vases and the like; sec- 
ond, of the furniture; third, of the walls; fourth, and last, 
of the floor. There will be one chief center of interest in 
each room, such as the fireplace with its decorative acces- 
sories; or the table with its fittings; or the bookcases. These 
will vary according to circumstances, but the chief center 
of interest should stand out distinctly; then other and less 
important groups will be formed to balance the room. Fur- 
niture and decorative objects must be grouped to form these 

162 


Emphasis 





centers so that the interest will not be scattered. Objects 
of interest, including pictures, should be placed on the level 
of the eye, or below. Never hang pictures over doors and 
windows, because they cannot be seen well, and they attract 
attention to the ceiling, which is not a place to emphasize. 





Fic. 134.—There is simplicity in the note of emphasis shown in this table runner, 
and it makes a suitable background for the objects which will be used upon it. 


Medallions in rugs, because they are unusual shapes, create 
a strong center of interest, and call attention to the floor. 
They are not recommended, because the floor is the last 
place which should attract attention. 

As in the exterior of a house, the rooms should have 
enough rest space to give an effect of reserve, and enough 
emphasis, used adequately yet sparingly, to show imagi- 
nation and individuality. 

Emphasis in household linens. So one applies this prin- 
ciple of emphasis to the largest objects and to the smallest; 

163 


Art in Every Day Life 








to the walls and to the vases; to the furniture, and to the 
things to be used with it. Where in this scheme should the 
linens be placed? Are they background, or are they decora- 
tion? If a background is something against which other 
things are seen, then surely they belong to the background, 
for they are used ona chest of drawers or a table, and have 
objects placed upon them. Because there is a certain amount 





Fia. 135.— The addition of decoration has given an effect of richness to this run- 
ner. Observe, however, that it has been used with moderation. 


of interest in the texture of household linens, such as the 
napkins and tablecloths, they are usually finished with just 
a narrow hand-sewed hem, and the interest is attracted 
to the texture and the pattern of the fabric. Sometimes a 
decorative edge is desired on a runner or a doily as an ad- 
ditional note of interest, and such a design is shown in Fig. 
134; or, going further in the amount of decoration, one 
might use a cloth with as much design as is seen in Fig. 
135; but one should never choose to let pattern run riot 
as it has done in the linens shown in Fig. 136. 

Emphasis in dress design. In dress the idea of background 
is Just as important as it is in any other problem where 
taste is involved. Here the person is the chief center of 
interest, and the clothes are the background. For that 

164 


Emphasis 





reason the amount of emphasis that can be used in dress 
depends, first of all, upon personality, and, second, upon the 
occasion for which the clothes are chosen. Some people 
are so striking, so brilliant and dashing, that they are able 
to appear to advantage against a great deal more emphasis 
in their dress than the average person. Regardless of per- 








Fia. 136.—Needlework has been used here for the sake of display. These pieces 
are ostentatious and would bring too much emphasis wherever they would be used. 





sonal qualities, however, the law of harmony—suitability 
to occasion—sets certain standards which are carefully 
observed by people of taste; for example, to meet these 
standards, street and business clothes should be quiet in 
effect and conservative; sports clothes may be as striking 
as one’s personality will permit; the amount of emphasis 
in evening dress for women will be governed by the per- 
sonality, the income, and the occasion; clothes which must 
be seen repeatedly by the same group of persons should be 
less conspicuous than those which are to be seen once or 
165 


Art in Every Day Life 


twice. Stout people should avoid figured suitings or dress 
goods, and not use striking colors or contrasts of light and 
dark; their unusual size has made them so conspicuous that 
they will not wish to add any more emphasis. 

While the costume is the background for a person, it 
is important to recognize that underwear is the background 





Fic. 137. —If underwear is to be in good taste and make a suitable background 
for the dress it should either have no decoration, or the decoration should be of a 
simple type, as shown here. 


of the costume, and it should be chosen with that in mind. 
It should not be the main center of interest in a costume, and 
when one sees elaborately embroidered or crocheted de- 
signs in underwear worn under thin dresses, it becomes 
foreground instead of background, and shows a lack of 
taste. (Figs. 137 and 138.) There was a time when all the 
inexpensive undergarments in the shops were loaded down 
with ornament, and one had to pay a much larger sum to 
buy a simple garment. When one complained of this the 
166 


Emphasis 


salesman would say, “We give the public what it demands. 
If it wants much lace we supply it.” But gradually the 
public has changed, and the simplest sort of design can be 
purchased in the less expensive as well as in the most costly 
garments. 

In the well-organized plan for a costume the face will be 


Sei ee RR 
eee 2) 
= 





Fic. 138.—Crocheted yokes and elaborate embroidery designs are too emphatic 
for underwear, and they show poor taste. 


the chief center of interest; the most successful design is 
that which will lead the eye to the face through the choice 
and arrangement of all the colors and lines that go to make 
up a dress design. Man’s dress follows this principle, for 
his collar and tie center the attention upon the face. Men 
very seldom use conflicting centers of interest, such as occur 
when white or very light spats or shoes are worn with dark 
clothes, making the feet the center of interest. That par- 
ticular mistake is made much more frequently by women 
than by men, and one often sees all the emphasis in a cos- 
167 


Art in Every Day Life 





tume centered upon a patch of white or colored hosiery. 
Remember that by the use of any of the five means stated 
under “How to Emphasize” attention is attracted and 
centers of interest are created; therefore it is well to con- 








Fig. 139.—A. Emphasis poorly placed. The lines of this dress are so striking 
that it does not need much, if any, additional emphasis. If any decoration were 
to be used it should follow some line already established, as at the neck and sleeves, 
or at the bottom of the tunic. The spots used here make the waist and skirt equally 
important and cause the eye to jump restlessly from one point to another. B. 
Here the emphasis is well placed, for it stresses the structural lines of the dress. 
Notice that the main center of interest comes near the face, that a secondary note 
has been placed on the skirt, and that there are minor accents on the sleeves. 


sider what one wishes to emphasize, and proceed accord- 
ingly. For example, if a woman has an ungainly walk or 
unattractive feet, she should have nothing conspicuous on 
her skirt, either at the hips or near the hem; and she should 
select only the most conservative types of shoes. | 
While the ideal dress is the one which has the chief center 
168 


Emphasis 


of interest at the face, there are many other arrangements 
which are very successful. Sometimes the important note 
of emphasis is at the waist line, and, to complete the de- 
sign, an echo of it is brought up around the neck for a sec- 





Fic. 140.—Lucrezia Pancratcut, by Bronzino. (Courtesy of Anderson, Rome.) 
A beautiful 16th century costume which shows the main center of interest around 
the face, with subordinated centers at the belt and wrists. 


ondary center; or there may be a decorative band at the 

bottom of the skirt, and a repeating note around the face, 

while the rest of the dress is kept very simple; again, the 

sleeves may be chosen as the individual note, with minor 

centers at other places on the dress. The important thing 

is to choose one place for the main center of interest and 
169 


Art in Every Day Life 








keep the rest of the dress subordinated to that. And, above 
all, one must be sure that the dress as a whole is not too 
striking in its emphasis for the person who is to wear it. 

Scattered forces of equal importance, as seen in Fig. 139A, 
give a “hit and miss” effect which is not pleasant. Compare 
this design with Fig. 139B, in which the collar and vest, 
through their line and the embroidered pattern, carry the 
eye to the face, which is the chief attraction. The skirt 
takes second place in the dress design, and the sleeves are 
third. Notice that the emphasis in this dress has been 
placed in consistent positions—at the neck, waist, bottom 
of the skirt, and sleeves. 

The Sixteenth Century costume in Fig. 140 shows how 
a dress may help to enhance the beauty of the wearer. The 
contrast of the light yoke has centered the interest near the 
face so that one is more conscious of the wearer than the 
dress. When a costume is a background to this extent, 
it has fulfilled one of the most important requirements of 
good dress design. The belt has made a second and sub- 
ordinate center of interest in this costume, and the lace at 
the wrists, which makes a transition from the dark sleeves 
to the light flesh tone, brings a third and even less emphatic 
point of emphasis. The jewelry which this lovely, aristo- 
cratic young woman is wearing is simple for the period in 
which she lived, but to-day one would use only one of the 
two necklaces. Jewelry should be used very sparingly, 
and then only when it helps to complete a costume. This 
means that all jewelry should be chosen for its art quality 
rather than for its cost. When beads, necklaces, or brooches 
are worn against figured or embroidered materials the same 
effect is produced as when the candlesticks in Fig. 132 are 
seen against the figured background. To quote the words 
of a lecturer on Interior Design, “Do not forget that a spot 
on a spot makes a blur.” 

In a word, success in dress design depends, more than 

be 170 


Emphasis 





anything else, on knowing what to leave off. Simplicity 
should be the aim, with just enough emphasis to keep the 
design from being commonplace. Nothing in the way of 
emphasis should be added to a dress unless it is clearly 


needed to refine and beautify it. fF 


Emphasis in store displays. In planning store displays, 
the window decorator has three groups of people to attract: 


CRASH Wie 
DRIES AND POLISHES 





Fia. 141.—An example which illustrates the art principle that every arrangement 
should have one main center of interest, with every other part subordinated in 
proportion to its importance. Emphasis has been gained by grouping objects and 
leaving enough plain space around each group to force it. 


(1) The people across the street. 
(2) Those who are passing in front of the window. 
(3) Those who have stopped to examine the display. 


For the first class there must be one simple forceful effect 

which will attract the attention and make the pedestrian 

wish to cross the street to see the rest of the display; that 

effect would correspond to the chief center of interest as 

stated in the definition of emphasis. Those who are passing 

will be attracted by this one big note, and also by the items 
171 


we 


Art in Every Day Life 





of secondary importance. For those who stop there must 
be some interesting details. 

Three very different examples of emphasis are shown in 
Figs. 141, 142, and 143. In Fig. 141 the display can be seen 
readily; it is well organized, with a main center of interest 





Fia. 142.—(Courtesy of the Warner Hardware Company, Minneapolis.) 

In this display a great number of small objects have been well grouped to make 
one main center of interest and several subordinate centers. The main center has 
been made more emphatic by the use of plain space around it. In spite of the great 
mass of detail this window is easily seen because it is well organized. 


and a subordinated center on each side. The background 

is simple and it contrasts in light and dark with the goods 

which are displayed. This value contrast has been shown 

to be one of the quickest ways of arresting the attention. 

The designer of this window had large objects to work with, 

and that made his problem relatively simple. The designer 
172 


Emphasis 





of Fig. 142 had a much more complicated task, and yet he 
has produced a most cleverly organized arrangement. He 
has massed the great number of small objects into units of 
different sizes, and has left enough plain space around each 
group so that it will not harm or be harmed by its neigh- 





Fic. 143.—When the eye encounters many objects of equal importance it does 
not see any of them clearly. There is a loss of power in this window because the 
objects are scattered, and there is no main center of interest. 


bors; then he has carried out this same plan within each 
group so that everything fits into a scheme, and in the end 
one sees large designs made up of groups which, in turn, are 
made up of separate articles each of which is easily seen. 
Compare with this the window in Fig. 143. There are 
probably fewer separate objects used here, and yet the effect 
is a blur. This shows what happens when small objects are 
173 


Art in Every Day Life 





not grouped to form centers of interest, and when there are 
no empty spaces in which the eye may rest. 
It should be recognized that in all store decoration the 








Fic. 144.—A. The force of this advertisement has been gained by the unusual 
line of the pen. B. The emphasis here is gained through the contrast of light and 
dark. C. This poster appeals to the observer through the pattern in the picture 
as well as the contrast in color and in light and dark. 


merchandise is the important feature. Backgrounds and 

any decorative accessories, such as flowers, trellises, etc., 

should be used merely as minor notes to give a touch of 

interest; just as soon as they become too emphatic the appeal 
; 174 


Emphasis 


of the merchandise is lost. Decorators should realize that 
the store gets no return from its backgrounds, and for that 
very practical reason they should make them add to, rather 
than detract from, the merchandise. Lattice work designs, 
besides showing lack of rhythm because of their distracting 
movement, are extremely emphatic. Every time two lines 
cross in an X shape, the point where they intersect becomes 
a center of interest, and the dazzling effect detracts from the 
display. Mirrors used as backgrounds are apt to be dis- 
tracting, for they reflect all street scenes and lights; if 
many objects have been placed in the window, the re- 
flection doubles the number and makes for confusion. 

Emphasis in advertising. ‘The advertiser recognizes two 
facts: 

(1) That nobody deliberately starts out to read his 
advertisement. 

(2) That he has only a limited amount of time in which 

to tell his story. 
The amount of time he may have varies with the type of 
advertising he is doing; for example, the bill-board must be 
positive enough to tell its message almost instantly to the 
people who rush past in street cars and in automobiles. The 
posters in Figs. 144 A, B, and C are quickly seen, and it is 
interesting to note that a different means of gaining emphasis 
has been used in each one. In A the attention is caught by 
the forceful and unusual line of the pen, which leads directly 
to the name. In B the thing to be advertised has been made 
to contrast in value with the background, and plenty of space 
has been left around it to separate it from neighboring at- 
tractions. In C there is value contrast and plain space; there 
is also an entertaining pattern in the picture, and a further 
appeal to the eye through the use of color. 

While the bill-board and the car-card need a dramatic 
note, the newspaper advertisement may be much quieter and 
more dignified in effect, for it has more time in which to make 

175 


Art in Every Day Life 


its appeal. Nevertheless, any advertisement must have a 
certain amount of emphasis in order to arouse interest; too 
mild a statement will pass unnoticed, and so even the quiet 


Rais ri SN et 
PUR RINAR LEREALS 


er sari ATED oot B 


} am Rae Even Amer icity, H Site 
non he ne ‘a 


IN A MILLION HOMES & 
Ralston-Purina Cereals find a welcome 
on the breakfast-table They are the 
purest and most delicious foods made 


HOMINY\J 
LSTON Gaits Ya 
pitied ps mn IN THE GROCER’S STORE 
g You can a} be full variety (5 2-1b 
pechsers) andi 12-I1b sack for $1.00) 
hey re always fresh at your grocer s 


‘“*Where Purity is Paramount"’ 
absolute cleanliness prevails [t is a most 
significant phrase in connection with the 


PURINA MILLS, ST. LOUIS, MO 


rie Whole ay, 
s N's bread made from ® 
ae RALSTON 5 
, Puriia HEALTH Fioun “ 


~ Heat Oa oP: 
‘ n OATS ¢ is much better for 
the family than 





Fic. 145.—(Courtesy of Purina Mills.) 

Confusion results from the misuse of dark and light contrasts. The equal 
amounts of light and dark, and the equality of sizes in the design make the back- 
ground as forceful as the advertising material, and prevent any definite centers 
of interest. 


message wants something positive about it. When there is 

much competition for attention that positive note must 

become more compelling. But over-emphasis is as serious 

as under-emphasis, as is seen in the advertisement for break- 

fast food in Fig. 145. So much force has been used that the 
176 


Emphasis 





result is bewildering. When very strong contrasts, such as 
black and white, are employed they must not be used in equal 


| ni yy 
a 2 


Apoetite 


Nature rewards him. His manly play 
builds appetite for more of the tasty 
food that makes him strong. A golden 
brown dish of Ralston, the whole 
wheat cereal, starts his day right. For 
Ralston has both,the flavor he loves 
and the wholesomeness he needs. 


Ralston, the W hole W heat Cereal,comes 
only in the famous checkerboard packe 
age. Get it fro: your grocer today. 


Ralston 


The Whole LTE Cereal 





Fic. 146. aE of Purina Mills.) 

Comparing this illustration with Figure 145, which was made twenty years earlier, 
one sees that the modern advertiser recognizes that too much emphasis fails to 
emphasize. Notice how easy it is to see this advertisement, and to read its message. 
Here the square blocks in the background do not contrast so strongly, and enough 
plain space is used around the name to make it the main note of emphasis. 


amounts, because they become perplexing and disturbing, 

as in this advertisement. Compare with this the advertise- 

ment in Fig. 146. These two designs are very similar, but 
177 


Art in Every Day Life 


in the latter the designer has emphasized the name of the 
breakfast food by placing a plain background behind it, and 
he has eliminated the confusion of the checkerboard design 
by keeping the darks and lights close together. This clearly 
is better advertising than Fig. 145. 

Where to place centers of interest. The diagrams in Figs. 147 
to 152 will be found useful in determining where to place 





~-C- e 


Fie. 147. A, B, and C. Objects which are to be seen from all sides may be in 
the center of the space on which they are placed. 

Fic. 148.—The center of interest looks well if placed slightly above the exact 
center when it is to be seen from one direction, as a mounted picture, a show card, 
or a design on a printed page. 


attractions. In order that each person may adapt this plan 
to his own field of work, the drawings are kept abstract and 
spots are used, so that they may be thought of as represent- 
ing any object one may wish to use. 

If an object is to be seen from all sides, 1t should be placed 
in the center of the space, with borders of equal width on all 
sides. This is agreeable because the object then looks the 
same from any direction. (Fig. 147.) Typical examples are 
shown in the placing of a mat on a table, or a bow] of flowers 
on a mat. 

When a design is to be seen from one direction, Fig. 148 
suggests the appropriate placing for the center of interest. In 
this case the lowest margin is wider than any of the others in 

178 


Emphasis 





order to overcome the optical illusion which makes objects in 
this position appear as if they were dropping. (See Law of 
Margins, Fig. 165.) Applications of this kind of placing are 
used in designing or mounting compositions, or planning a 
page of written or printed matter. The size of the margins 
would vary according to the emphasis of the object which is 
being used. If it is very striking, it needs a large mount, as 


2 3 j 2 





A. B. 


Fia. 149.—A. If the lines of the center of interest have a tendency to carry the 
eye toward the right the most interesting position for it to occupy would be slightly 
above the center and a little toward the left. This plan may be used when placing 
an object against a background or an illustration on a show card. B. When the 
eye is carried toward the left it is agreeable to have more background space on the 
left side. 


shown here. A sheet of written or printed matter would 
follow the same relative proportions, but the margins would 
be smaller. When planning compositions it should. be 
remembered that the greater the emphasis of the thing to be 
used, the larger the plain space around it should be. 

Figs. 149A and B suggest positions for centers of interest 
where the lines of the object carry the eye off toward the 
right and toward the left. It will be observed that the eye 
enjoys a free resting place on the side toward which it is 
being led. (See Fig. 260.) The positions for these centers 
of interest were determined in the following manner: each 

179 


Art in Every Day Life 


side of the mount was divided into five equal parts; the rela- 
tion of two parts to three results in beautiful spacing; there- 
fore drawing lines through points 2 or 3 will make interesting 
divisions in the rectangle; the points where these lines cross ~ 
each other give four points on which attractions could be 
placed. It is not necessary actually to measure these spaces; 
an approximate division will be as pleasing as an accurate 





Fig. 150.—In looking at a printed or written page the eye has a natural tendency 
to enter at the side and to travel in the direction indicated by the arrows. Under 
ordinary circumstances point 1 would be the most favorable position for a center 
of interest, point 2 next best, then points 3 and 4. 


one. To state it briefly, the center of interest should be above 
the mechanical center, and to the left or right, depending upon 
the direction in which the lines of the composition carry the 
eye. 

Fig. 150 shows all the spots which may result from the 
foregoing method of locating points of interest, and the | 
arrows show the path which the eye naturally takes as it: 
looks at a written or printed page. It will be seen that, 
under ordinary circumstances, No. 1 is the first, and there- 
fore most emphatic position; Nos. 2, 3, and 4 follow in the 
order named. There are conditions which would change the 
relative importance of these positions, such as in Fig. 144A, 
where the shape of the object is such that it carries the eye 
involuntarily in some definite direction. _However, in any 
case, in the placing of one spot on a sheet it is usually well 

180 


Emphasis 


to avoid the mechanical center, and raise it either to the 
right or to the left, or lower it to the left or right, depending 
upon the dominant lines of the composition. If the arrange- 
ment has no special direction, the most successful position 
for it will be at the left, and slightly above the center. 

Fig. 151 illustrates a method for placing three centers 
of interest in a composition. It is often necessary to group 


4s 





eo 

Fic. 151.—A simple method of placing centers of interest for informal balance. 
Two objects may be placed at points corresponding to 1 and 3, or 2 and 4, on Fia. 
150; the third object may be placed anywhere except on the horizontal or vertical 
lines passing through the two spots, or on a line connecting the centers of the two 
spots (A’B’). Counting the distance between the first two spots as two parts 
(AB), the third spot may be placed three parts away. 


three objects, and if one knows this simple plan it will 
help to suggest arrangements for some of the puzzling 
problems in informal balance, such as are found when one is 
drawing or making flower arrangements, making designs for 
embroidery, arranging groups of objects on a table or in a 
show window, or placing trimming on a hat. The same 
plan as for Fig. 150 was used to start with, and two of the 
objects are placed at points 1 and 3, although 2 and 4 could 
have been used instead. ‘These relative positions are chosen 
so that both objects will not be on the same straight line. In 
this diagram (Fig. 151) 1 and 3 were selected for the first 
two spots. In placing the third spot one should avoid the 
: 181 


Art in Every Day Life 





following three classes of lines: (1) Any horizontal line or (2) 
vertical line running through either of the first two spots, 
because the arrangement would be monotonous if there were 
too many parallel lines; (3) the diagonal line which runs 
through the center of the first two spots, for then there 
would be a lack of rhythm because the eye would imme- 
diately be carried out of the picture. It can be placed any- 





Fie 152.—This arrangement is similar to Fic. 151, but in this case the distance 
between the first two spots (AB) has been considered as three parts, and the third 
spot placed two parts away. 


where in the space except on the lines mentioned. ‘The 
next step is to decide how far away to place this third spot. 
A knowledge of proportion tells one that it should not be 
the same distance from either spot (1 and 3) as the space 
between 1 and 3; and that a position which is more than 
one-half this distance, but less than two-thirds will be 
interesting. If the distance between spots 1 and 3 is con- 
sidered as constituting the two parts, then the third spot 
will be in an interesting position if it is placed about three 
parts away. (Fig. 151.) If it seems desirable to have it 
closer to the other, the space between 1 and 3 can be con- 
sidered as the three-part of the ratio, and the third spot 
would then be placed only two parts away, as shown in 
Fig. 152. In a three-spot arrangement one of the spots will 
182 


Emphasis 


be the chief center of interest, and the other two will be 
subordinated. 

SumMMARY. ‘There are certain guiding principles in em- 
phasis which apply to all problems, and which may be stated 
as follows: 


(1) There should be one chief center of interest in every arrange- 
ment. 


(2) The mind and eye can grasp only a certain amount of emphasis 
at one time; if more than the necessary amount of force has been 
used the result is confusing and the designer has defeated his purpose. 

(3) If an object is to be fully appreciated, plenty of plain back- 
ground space must be left around it. 

(4) Backgrounds should be less emphatic than the objects which 
are to be seen against them. 


183 


pe eS 


Boe — 


CHAPTER VIII 


HOW TO KNOW COLOR 


| In order to understand color and to use it beautifully it is 
/necessary to learn enough color theory to understand color 
language and to know why one should choose certain colors 
' rather than others. Most people can copy color schemes in a 


“recipe”? manner and their results may look well, but they 


~ do not feel confidence in themselves because they have done 


nothing to train their color judgment. 

Of the many color theories which have been worked out, 
two are in very common use. These are generally known as 
the ““Prang System”’ and the “Munsell System.” It seems 
advisable to explain both theories, so that the reader who 
understands and has been thinking in terms of one may fol- 
low the familiar plan and nomenclature. For the sake of 
avolding confusion in the mind of the beginning student, the 
Prang theory only will be used when explaining the prop- 
erties and the classes of color. At the end of this section, 
“How to Know Color,” the Munsell system will be ex- 
plained, and the fundamental differences between the two 
systems noted. When speaking of colors in “How to Use 
Color”’ we shall employ the popular name for the color, with 


/ the Prang and Munsell symbols which represent it. 
: N How colors differ from each other. There are three prop- 
“V erties or qualities which may be called the dimensions of 
/ color, which are just as distinct from one another as the 
length, the breadth, and the thickness of an object. Con- 
sequently colors may differ in these three ways: 
(1) In their warmth or coolness. (This dimension is the 
Husk or the name of the color.) 
184 


How to Know Color 





(2) In their lightness or darkness. (The Vauur of the 
color.) 


(3) In brightness or dulness. (The INTENsrTy or CHROMA 
of the color.) 


All three of these dimensions—hue, value, and intensity— 
are present in every color, just as every object has length and 
breadth and thickness. 

Hur (Sympout H). Hue is the term which is used to 
indicate the name of the color, such as red, blue, or green. 
The difference between blue and green, then, is a difference 
in hue. Just as soon as green turns bluish it has changed its 
hue and would be called blue-green instead of green. 

If a prism or a diamond is held in the sunlight, which is 
a source of all color, the white of the prism or the diamond 
will be broken down and separated into all the colors of 
which white light is composed. If white light is broken 
down against a white background a spectrum appears in 
which all the rainbow hues are spread out in a band. These 
colors, just as they appear in the spectrum are commonly 
called normal colors. 

The neutrals,—black, white, and gray. Black results from 
the absence of color. A surface which absorbs all color will 
appear black. White is a combination of all the colors. A 
surface which reflects all colors will appear white. Gray is 
a neutral which results from a mixture of pigments. Pig- 
ments, unlike light rays, are impure, and when mixed they 
leave a gray sediment instead of producing a clear white. 
(See p. 196.) 

The classes of color: Primary, Binary, and Intermediate. 
All colors may be obtained by mixing in various proportions 
three fundamental hues: red (R), yellow (Y), and blue (B). 
These are called the three primary colors, because they are 
the elements in the use of pigment. They are the only hues 
in pigment that can not be obtained by mixing other hues. 
(See Fig. 153.) | 

: 185 Te 


Art in Every Day Life 


When two primary colors are mixed in equal amounts a 
different hue will result. This new hue is called a binary 
or secondary color. There are three of these binary colors,— 
purple (P), called violet (V) in the Prang System, made by 
mixing red and blue; green (G), made by mixing yellow and 
blue; and orange (O), from red and yellow. (See Fig. 154.) 

The primary and binary colors together are commonly 
called the six standard colors. 


if 


R B 


Fic. 153.—The three primary colors, Red, Yellow, and Blue. 


When a primary and a binary are mixed in equal amounts 
an intermediate hue results. There are six of these inter- 
mediate hues,—yellow-green (YG), blue-green (BG), blue- 
purple (BP) or blue-violet (BV), red-purple (RP) or red- 
violet (RV), red-orange (RO), and yellow-orange (YO). 
So far the twelve hues which constitute the typical color 
chart have been placed. (Fig. 155.) However, there is 
room between each one of the intermediates and its neighbor 
for an indefinite number of gradations. For example, 
one can easily imagine a color that comes halfway between 
the blue and the blue-green on the chart. These hues may 
be indicated by repeating the name of the more conspicuous 
one. Thus, the hue called Peacock Blue, which is between 
blue and blue-green, would be called blue-blue-green (BBG). 
Next on the spectrum would appear the blue-green (BG); 
then green-blue-green (GBG), and green (G). Obviously, 

186 





How to Know Color 








it is possible to make more and more detailed charts record- 
ing steps between the standard and intermediate hues. 
Popular names for colors. It will be noted that many 
familiar color names do not appear in this list of hues. 
Tan and brown, pink, lavender, henna, beige, and atmos- 


ry. 


e 


Fic. 154.—The six standard colors, consisting of the three primary colors, Red, 


Yellow, and Blue, and the secondary or binary colors, Orange, Green, and Purple 
(Violet). 


phere are only a few of the names that are given to different 
values and intensities of the standard and intermediate 
hues. Every season brings a new list of names for the 
fashionable colors, but each of these can be described accu- 
rately by using the name of the hue which it matches in 
the spectrum, with its correct value and intensity. To 
illustrate: Tan and brown are the names commonly used 
187 


Art in Every Day Life 


for the duller tones * of yellow, yellow-orange, orange, and 
red-orange,—the tans being the lighter tones, or tints, and 
the browns, the darker tones, or shades; pink is a light red; 
and lavender is a light purple, light red-purple, or light 
blue-purple. 

How to change hues. If a person wishes to change the hue 
of a color he will mix with it some of a neighboring or adja- 
cent hue. For example, some red added to blue paint will 
change its hue to purple. A change of hue may be accom- 
plished by dyeing, or by putting a semi-transparent fabric 
over another. Blue can be turned toward purple by putting 
red or red-purple under or over it, and toward green by the 
use of yellow or green. Some very beautiful effects may be 
obtained if this is understood. Frequently a slight change 
of this sort will make an unbecoming hat or dress entirely 
satisfactory. 

Warm and cool hues. Imagine a band of spectrum colors 
brought around to form a circle, as shown in the outer ring 
of Fig. 155. Place yellow at the top, in the center, and. 
purple will fall directly opposite on the same vertical line. 
The hues will fall into two large groups, one on either side 
of the vertical line. The colors at the right of the line near 
the blues are the cool hues, and those on the left side of the 
vertical line around red and orange, are the warm. Red and 
orange are the warmest of all the colors, and they are also 
the most advancing and the most conspicuous. Blue and 
blue-purple are the coldest hues, and they seem to recede and 
to become inconspicuous. Green is between heat and cold, 
but it gets warmer as it grows yellowish, and cooler as it 
grows bluish. This quality of warmth and coolness is the 
most important thing to remember about hues. There is a 
harmony among ‘the warm colors because they are related to 


*“ Tone’ is a general term which may be applied to the hue, the value, or the 
intensity of a single color or a group of colors. It is the most inclusive term in 
color use. 


: 188 


_—. 


YELLOW 


YELLOW-ORANGE 


a YELLOW-GREEN 
ORANGE @ GRAY YELLOW 


GRAY GREEN 









GREEN 


GRAY ORANGE 












NEUTRAL GRAY BLUE-GREEN 


GRAY, BLUE 






GRAY RED 


GRAY VIOLET 


RED-VIOLET BLUE-VIOLET 


VIOLET 





Fig. 155.—The Prang Color Chart. 


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How to Know Color 








each other, and the same harmony or family quality exists 
among the cool colors; but the warm and the cool colors are 
strangers to each other. As white complements black, and 
heat complements cold, so are warm and cool colors comple- 
ments; they contrast rather than harmonize with each other. 

Advancing and receding hues. 'The warm hues, which are - 
advancing, will make objects appear larger and nearer to 
the observer, while the cool hues, which seem to recede, will 
appear to reduce size. The landscape gardener may create 
the illusion of a larger space than he actually has to work 
with if he plants his bluish flowers in the background, and 
his red and orange flowers in the immediate foreground. If 
he desires to bring some distant point nearer, he can do it 
easily by planting flowers or shrubs which show the warm, 
advancing colors. The stout woman needs to note this 
effect of color. If she wishes to conceal her size she should 
select the most becoming of the receding colors and leave the 
conspicuous, advancing hues to the small, slender figures. 

Hues appropriate to the seasons. Certain hues seem to be 
particularly appropriate to the different seasons of the year, 
and window decorations and advertisements, stage costumes 
and settings, may be made to suggest the seasons if colors 
are chosen according to the following plan: 


Spring—Starting with blue, through blue-green to green. 
Summer—Green, yellow-green and yellow, approaching a yellowish 
orange toward the end of summer. 


Autumn—Orange, red, and red-purple. 


Winter—Purple, blue-purple, and blue. 


Effect of different hues. Hues have a decided effect upon 
one’s feelings, and it is important to know how people react 
towards color schemes. People tire more quickly of the six 
standard colors—clear green, yellow, orange, red, purple, 
and blue—than they do of the intermediates, yellow-green, 
yellow-orange, red-orange, red-purple, blue-purple, and blue- 

189 





Art in Every Day Life 





green. Warm colors are more cheerful and stimulating than 
cool colors, which are calm and restful. Too much warm 
color may be exciting and “loud,” while too much cool color 
may be depressing. The experience of two tea-rooms 
designed to appeal to the same class of patrons illustrates this 
point. One tea room had walls of a light, dull yellow-orange 
(sand-color) and sparkling red-orange candle shades. The 
other room had cold, light gray walls and purple candle 
shades. In the yellowish room conversation seldom lagged 
and the people were cheerful. When the same people entered 
the gray and purple room they began to whisper. Although 
the gray room had an ideal location, served excellent food, 
and charged the same prices as the yellow room, it failed 
after a very short time. 

Summary of hue. A knowledge of hue, the first dimension 
of color, should enable the color user to accomplish the 
following: 


(1) Give the color its proper name. 
(2) Recognize related colors and contrasting colors. 
(3) Recognize advancing colors and receding colors. 
(4) Place a color in one of three groups: 
(a) In a warm group; as a cheerful, an aggressive, or an exciting 
color. 
(b) In a cool group, where it may be either a cool, calm, restful 
color, or a depressing color. 
(c) On the border line between warmth and coolness, with some- 
thing of the cheer of the warm colors and the calmness of the 
cool. 


 VatuE (Sympot V). Value, the second dimension, 
' describes the lightness or darkness of a color. There are 
“ many degrees of light and dark, ranging all the way from 
white to black, but for the sake of convenience in use nine 
typical steps are selected. Dr. Denman W. Ross gave these 
nine steps names and symbols which aid in visualizing them. 
White is the highest value, and no hue can be as light as 
190 


i 
| 


a 


ol 












GREEN -YELLOW 


BLUE-GREEN 


ELLOW 


YELLOW-RED 
(ORANGE) 


g 
PURPLE - BLUE 


PURPLE 


PURPLE-RED 


é A. 


A. This chart combines some of the features of the Prang color system with some of the Munsell system. 
The hues on the outer band are of the value and intensity seen in the spectrum, as in the Prang chart. The 
second band shows all the colors one-half neutralized. The third band shows the five principal colors three-fourths 
neutralized. Gray, or neutrality, is at the center. The length of the arms shows the relative s' rength of the colors 
at their greatest intensity, as in the Munsell chart. A balance of warm and cool hues has been secired, as in the 
Munsell system, by eliminating yellow-orange and red-orange from the Prang circle. Green and red-purple have 
been placed at the top and bottom of the chart because they are the dividing hues between warmth and coolness. 
The warm hues appear at the right of the vertical line, and the cool hues at the left. The colors opposite each 


other are complements, according to the Munsell system. 





Fig. 156 








Prang Munsell 
Symbol Symbol 
WHITE 9/ 
W 
HIGH LIGHT 8/ 
HL 
LIGHT 7/ 
v 
LOW LIGHT 6/ 
16 
MIDDLE 5/ 
M 
HIGH DARK 4) 
HD 
DARK 3/ 
D 
LOW DARK 2/ 
LD 
BLACK 1 
B 





B. 


B. A neutral scale of values, with the Prang no- 
menclature, and the Munsell equivalent. 


C. The five principal colors at spectrum value, with 
their tints and shades. 


D. This chart shows how black, white, and gray of 
the same value will affect color. 


How to Know Color 








white. Black is the lowest value, and no hue can be so dark. 
Halfway between black and white comes middle value. 
(See Fig. 156B.) The value scale begins with White at the 
top (symbolized by W). The next step is High Light 
(HL); then comes Light (L),- Low Light (LL), Middle 
(M), High Dark (HD), Dark (D), Low Dark (LD), and 
Black (B). 

The value of any hue may be named by comparing it with 
one of the steps on the value scale of neutral grays in Fig. 
156B. 

If the color chart is compared with the value scale it will 
be seen that the hues change gradually in value with the 
lightest at the top and the darkest at the bottom. The 
table below gives the value equivalent of the normal colors: 


HL = Yellow 
L = Yellow-Orange and Yellow-Green 
LL = Orange and Green 
M = Red-Orange and Blue-Green 
HD = Red and Blue 
D = Red-Violet and Blue-Violet 
LD = Violet 


How to change values. Values can be changed by adding 
white or water to lighten, and by adding more pigment or 
black to darken them. Every hue is capable of being lowered 
to a value just above black, and of being raised to a value 
just under white. Values which come above Middle are 
commonly called high values and those below Middle are the 
low values. 

Tints and shades. ‘In color language a light value of a nor- 
mal color is called a tint, and a low value a shade. It will be 
noted that since normal yellow comes at High Light on the 
value scale its tints would not be included in this chart, 
although they would be visible to the eye. (Fig. 156B.) 
Similarly, the shades of purple, which comes at Low Dark, 

191 





Art in Every Day Life 


do not find a place upon the chart, although they too are 
distinguishable to the eye. (Fig. 156C.) 

Effect of different values. A comparison of the colors in 
Fig. 156D demonstrates the part that value plays in color 
use. The same color has been printed against white, gray, 
and black. The color looks stronger against white, paler 
against black, and against a gray which has just the same 
value as its own it blends and becomes very inconspicuous. 
Large sums of money are wasted in advertising and in dis- 
plays because this fact is not recognized, and many people 
dress unbecomingly and decorate their homes badly because 
they do not know when to choose dark, light, or middle 
values. 

Light values seem to increase the size of an object. Small 
rooms may be made to appear larger if they are decorated in 
light colors, and a person looks larger in white or very light 
clothing. Besides appearing to increase the size, light values 
create the impression of distance. For that reason a room 
appears higher if its ceiling is light than if it is dark. 

White and other very light values reflect color, and seem 
to intensify the color of the objects seen against them. 
(See Fig. 156D). 

Black and dark values seem to decrease the size of an 
object. Therefore dark colors would be a poor choice for 
the background of a small room, and a good choice for cloth- 
ing for large people. While white and light colors suggest 
distance dark colors suggest foreground, or nearness. For 
that reason dark values are particularly appropriate for 
floors and rugs because they give to the room an impression 
of stability. 

Black and very dark colors absorb the color of objects 
seen against them. (Fig. 156D.) Black also has the power 
to unify colors, and helps to bring harmony into an arrange- 
ment when a number of bright colors are used together. 
For example, in a ball room the gay colors of the women’s 

192 


How to Know Color 


gowns are harmonized by the masses of black of the men’s 
clothes. 

Close values are those which are very much alike. They 
are subtle and very quiet in their effect. (See Fig. 156D.) 
In most cases it will be found that when light backgrounds 
are to be used the most beautiful effects will be obtained 
when the general color value is rather light; when back- 
grounds are dark, the colors should be relatively darker, and 
when the background is of middle value, the general scheme 
should approach that tone. If the use of close values, par- 
ticularly in closely related hues, is carried to an extreme, the 
result may be decidedly monotonous. 

In house furnishing, close values are agreeable if many 
colors are to be used. In such cases a pleasing relief will be 
secured through the use of varied hues, while the similarity 
in values will give reserve to the color arrangement. 

A strong contrast of light against dark or dark against 
light is more conspicuous than the strongest hue contrasts in 
equal values. For example, blue is the coldest color, and 
orange is one of the warmest, and for that reason they are as 
unlike as two hues could be. To test these contrasts, choose 
a bright blue and a bright orange of exactly the same value. 
The brightness of the orange must not be mistaken for its 
true value. (Anyone who has difficulty in determining values, 
should almost close his eyes and look at the colors through 
his lashes; there is a point when hue and brightness nearly 
disappear and a correct judgment can then be formed as to 
relative amounts of light or dark in colors.) If a piece of the 
blue is placed against the orange, and an equal amount of 
black against white, it will be discovered that value contrasts 
have a more striking dissimilarity than hue contrasts. 
Therefore, in choosing backgrounds for advertising or for 
window displays one should consider this property of color 
very carefully, for a dark background can neutralize the 
effect of dark objects so much that most of the selling power 

193 


Art in Every Day Life 


of a window or a poster will be lost. If a closely related color 
scheme seems to lack interest, the introduction of a con- 
‘trasting value will supply the accent that is needed. 

Objects which contrast strongly in value with the back- 
ground will silhouette, and call sharp attention to their 
shape. Therefore, objects that are beautiful in shape may be 
used against a background of very different value. But if an 
object is not beautiful,—if it is clumsy, or too large, and 
it is desired to call the least possible amount of attention to 
its outline, it should be placed against a background which 
is very nearly its own value. 

Since close values produce quiet effects, and strong con- 
trasts have the opposite result, it will be found that where 
many objects are to be used together, they will appear more 
harmonious if they are similar in value than if they show 
sharp contrasts. 

Summary of Value. From this discussion on value, the 
second dimension of color, it will be seen that: 

(1) White seems to add color and to increase size because it reflects 
light. 

(2) Black seems to take away color and to reduce size because it 
absorbs light. 


(3) Gray seems to neutralize, and the closer the value of the gray 
to the value of the color seen east it, the stronger the neutralizing 
force. 


(4)’ White on black is less conspicuous than black on white because 
white reflects color while black absorbs it. 


(5) Strong value contrasts have a tremendous power of attracting 
attention; and if not used wisely may produce’ a very restless and 
confusing effect. 


(6) Close values are restful. 
(7) Strong value eras ne attention to the silhouette of an 
object. 
INTENSITY (SYMBOL I) oR CHRoMaA (SymMBoL C). Intensity 
or Chroma is the dimension which tells the brightness or 
194 | 


How to Know Color 





dulness of a color—its strength or its weakness. In other 
words, it is the property which describes the distance of the 
color from gray or neutrality. Intensity is the quality of 
color which makes it possible for a certain hue—such as 
red—to whisper, to shout, or to speak in a gentlemanly tone. 

The colors at full intensity are very striking, and form 
brilliant and interesting accents when they are used with 
discretion. The colors in the lower intensities are more 
subtle and one enjoys them, in general use, for large areas. 

The colors in the outer circle of the color chart in Fig. 155 | 
are said to be of full intensity because they are as bright as 
each color can be. As colors go down in their brightness and 
toward neutral gray, or no-color, they are said to be of low 
intensity or chroma. Changes in the intensity of a color may 
be brought about through the admixture of its complement, 
which lies opposite it on the color chart. Complementary 
colors complete a balance of warmth and coolness. When 
complementary colors are mixed they neutralize each other, 
and when mixed in certain proportions they completely 
destroy each other and produce gray or neutrality. When a 
color has had enough of its complement mixed with it to make 
it half as bright as it can be, and it is halfway between full 
intensity and neutrality, it is said to be one-half neutralized 
(144N) or one-half intense (441). The inside circle on the 
color chart shows the six standard colors one-half neutralized. 
There are, of course, many steps in the intensity of each 
hue,’ between full or “Spectrum intensity and neutrality. 
Halfway between full or spectrum intensity and the one-half 
neutralized stage the color would be one-fourth neutralized 
(144N), or three-fourths intensity (341). Going further 
toward the center, the half step between 14N and neutral 
gray is three-fourths neutralized (34N), or one-fourth intense 
(141). These four steps form 2 simple basis for ordinary use, 
although additional fractions may be added between full 
intensity, 14N, 144N, 34N, and gray. Note that on the chart 

oh 195 
Vv 


\ 
ee 


Art in Every Day Life 











the intensity of a color decreases as it leaves the circumfer- 
ence and moves toward the center of the circle. 

Complementary colors in the Prang system. It is easy to 
find the complement of any color without the aid of a color 
chart if it is remembered that in order to have neutral gray 
it is necessary to combine all the spectrum colors. _In other 
words, there must be equal parts of red, yellow, and blue, 
which are the elements of the spectrum as it would be repro- 
duced in pigment. In order to neutralize the primary color 
red, for example, it would be necessary to add the other two 
primaries, yellow and blue. The mixture of these two 
primaries produces the binary, green. Therefore it may be 
stated that the complement of a primary is the binary which 
results from the mixture of the other two primaries, To 
neutralize a binary it would be necessary to add the primary 
color which does not enter into its composition. ‘Thus, the 
complement of green (which is yellow plus blue) is red.—The 
complement of an intermediate is a mixture of the comple- 
ments of the hues of which the intermediate is composed. 
For example, the complement of red-orange would be blue- 
green, made from green (which is the complement of red), 
plus blue (the complement of orange). The complement of a 
primary is a binary; the complement of a binary is a primary; | 
and the complement of an intermediate is an intermediate. 
The following pairs of complementary colors are seen on 
the Prang color chart: 


Yellow and Purple—Y and P 

Yellow-Green and Red-Purple—YG and RP 
Green and Red—G and R 

Blue-Green and Red-Orange—BG and RO 
Blue and Orange—B and O 

Blue-Purple and Yellow-Orange—BP and YO 


If paints or dyes of opposite, or complementary, colors are 
mixed, they will destroy each other, but instead of making 
196 


How to Know Color 





pure white, as colored light would do, paints will leave a 
colorless or neutral gray. This is not a color, but a deposit 
which is left because of the impurity of the pigments. 

Neutral gray, at the center of the chart, shows by its 
position that it is the result of mixing any pair of comple- 
mentary colors. Neutral gray itself has a neutralizing effect, 
and may be used instead of a complement to dull a color. 

How to make colors appear more or less intense. A color 
may be emphasized in the following ways: 


(1) By placing it next to its complement. In the dis- 
cussion—of Hue it was stated that when warm and cool 
colors are placed side by side they force or emphasize each 
other. The complements have the greatest power to force 
or intensify their opposites when they are bright. As one 
or both colors become dull, the tendency to force the com- 
plement is lessened. 

(2) By combining the color with a neutral color, such 
as black or white. 

(3) By repeating near it a large amount of the same 
color in a lower intensity. For example, a bit of bright 
green surrounded with dull green would become more 
emphatic. 

(4) By repeating in some other part of the composition 
a small note of the same color in a brighter intensity. 


A color may be made to appear less intense by the follow- 
ing means: 


(1) By combining a large amount of a very bright color 
with a dull or delicate color. These must be of the same 
or very similar hues. Since bright colors force their com- 
plements, the large area of bright color next to the dull 
color will make it seem even duller. 

(2) A bright color may be made to seem less intense 
if it is combined with a very dull color, which is of about 
the same value, and slightly different in hue. To illustrate 
this point, let us take the problem of subduing the strong 
yellowish tone in the woodwork of a room. If a pinkish 
tan (RO 34N LL) were chosen for the walls it would be 
observed that the yellow in the woodwork would be neu- 

197 


Art in Every Day Life 


tralized by the yellow in the tan, and a slightly reddish 
tone would be the color that would be most apparent. 

A color may be neutralized or destroyed by mixing it 
with its complementary color, or gray. 

Complementary colors placed side by side tend to inten- 
sify each other. 

Taste shown through choices of intensity. Intensity is the 
dimension of color which expresses the taste and refinement 
of the color worker, and it is the property which can give the 
effect of Coney Island or that of a Quaker meeting-house. 
Intensity, then, is a tremendous force, and bright colors need 
to be used most carefully if the result is to be beautiful. 
Whenever large quantities of color are needed for back- 
grounds, as for an entire costume, a rug, wall paper, etc., the 
color should be dull and the greater the amount of color 
used, the nearer the intensity should come toward neutral 
gray on the intensity scale. The smaller the area to be 
covered, the brighter a color may be. This is a law in color 
use, which is ealled “The Law of Areas.” It is the founda- 
tion upon which all work in color is based. | 

Summary of Intensity. A knowledge of intensity, the 
third dimension of color, leads one to recognize that: 


(1) Some colors are more forceful than others. 

(2) Each color as it is seen in the spectrum is as strong as that 
color can be. 

(3) Colors may be made duller or less intense by mixing with them 
some of their complementary color. 


(4) Colors may be made to appear more intense by placing beside 
them some of their complementary color. 


Color symbols in the Prang color notation. In the Prang 
notation a color is expressed as follows: Hue, Value, Inten- 
sity. Hue is denoted by the name or the initials of the 
step to which it corresponds on the value scale, such as 
Low Light (LL), or Dark (D). Intensity is expressed by a 

198 


How to Know Color 





fraction which shows its degree of neutralization, or by a 
fraction showing its degree of intensity. Thus, a red which 
is of fullest intensity, in the value in which it is seen on 
the color chart, would be written R HD Full Intensity. 
Red which is High Dark in value, and one-fourth neutral- 
ized, would be written R HD 14N, or R HD 341. 

Texture. Although texture is not a property of color it 
plays so important a part in color use that it cannot be 
ignored. Surfaces which are flat or glossy, like satin or 
shiny paint, do not have the power to blend colors. On the 
other hand, textures which have more or less roughness 
reflect light in tiny accents, and throw little shadows. The 
texture of such surfaces blends colors and gives the appear- 
ance of vibrating color instead of the glassy harshness of the 
glazed surface. There is something mellow about the surface 
of a plaster wall that has sufficient texture to show a vibra- 
tion of color, while the smooth and shiny painted wall gives 
an effect that is harsh and glaring. 

Fabrics which are identical in color but unlike in texture 
sometimes appear to be different in hue because of the 
softening effect of a rough weave or a high pile. A color in 
a shiny texture would be more trying to the complexion 
than the same color used in a texture which had a soft, 
irregular surface. 

SumMARY. The briefest possible statement of what every- 
one should know about color in order to use it intelligently 
would include these points: 


/ (1) All colors have three dimensions, hue, value, and intensity, 
each of which is capable of being changed. ~ 
| (2) Hues are warm and cool; advancing and receding; and they 
can be changed by mixing with them a neighboring color in the 
spectrum. 
(3) Values may be light or dark, and they may be changed by 
adding to any color more white or water to lighten it, and more pig- 
ment or black to darken it. 


ES 199 





Art in Every Day Life 


(4) Intensity may be strong or weak; bright or dull; and a color 
may be made duller by adding some of its complement or gray. 


The preparation of a color chart and a value scale offer 
valuable training for the color sense. Any colored materials 
may be used. A good-sized diagram should be made, similar 
to that on which the colors on either Chart 155 or 156A are 
placed. There should be a space on it for each of the hues, 
and for four of the intensity steps of each hue. A prism 
should be used for throwing the clear spectrum colors on 
something white, and an attempt made to match these 
colors for the hues in the outer circle. Printed color charts 
are seldom, if ever, accurate. While they serve satisfactorily 
enough to establish certain color relationships, the student is 
urged to study the spectrum, which can so easily be pro- 
duced by means of the beveled edge of a mirror, a diamond, 
or a prism. As a color is found it should be cut out and 
pasted in its proper place on the chart. One can paint these 
colors, or use papers, ribbons, silk, wool, or cotton dress 
goods, yarns,—anything that shows the right color. It will 
be found that analyzing many colors for their correct hue, 
value, and intensity develops skill in matching colors and in 
identifying them. A trained color sense is of the greatest 
value to everyone, and it can be secured only through exer- 
cise. 


Ture MUNSELL CoLoR SYSTEM 


Mr. A. H. Munsell worked out a color system which 
eliminates much of the guesswork in color study. It will 
be exceedingly profitable to the reader to study Mr. Munsell’s 
“Color Atlas” and ‘Color Notation,” and “A Practical 
Description of the Munsell Color System” written by Mr. T. 
M. Cleland, in order to supplement this very brief descrip- 
tion of the Munsell color system. 

The color sphere. In the Munsell plan the dimensions of 
color are shown upon a sphere (Fig. 157). The hues appear 

200 


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oy’ =. 
ba 


} 
=} ee 


Ate ie 
' 
se 
i 














See 1 
=p, 1 

' 

' 


ate 
FS - 
Se TATRA TEIVTTITAT) Et 5] eee UT RES 


a —— fet | | dhe Scale \ of Chroma 





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se. 


BLACK 





Fic. 157.—The Munsell color diagram, illustrating the three dimensions of color. The hues are indicated on the band around the circumference 
of the sphere. The values are shown on the central pole. (The black and the white at the poles are theoretic, and Value 1 is practically black, 
and Value 9, practically white.) Chroma 1s measured on the arms extending from the central pole out to the circumference, or beyond it, 


depending upon the strength of each color. 


How to Know Color 








around the circumference of the sphere. Values in neutral 
gray are shown upon a vertical pole—the axis of the sphere. 
The “North Pole” is White, and the “South Pole” is Black. 
As the hues become ligher in value they are placed higher on 
the sphere; as they grow darker they appear lower, toward 
the “South Pole.’ Chroma, or intensity, is represented by 
paths or arms running from no-color, or Neutral Gray, out 
to the circumference, and beyond it. 

Hue (Symbol H). Mr. Munsell found that when the colors 
in the twelve color circle were mixed they did not produce a 
perfectly neutral gray. The gray appeared warm instead of 
colorless. He therefore eliminated yellow-orange and red- 
orange from his circle, and found that there was perfect 
balance between the warm and cool hues. He renamed the 
hues, substituting the name ‘“‘Yellow-Red”’ for Orange, 
“Purple” for Violet, “‘Purple-Blue’’ for Blue-Violet, and 
“Red-Purple”’ for Red-Violet. 

Instead of the twelve hue circle we now see ten hues, 
divided into the Fwe Principal Hues and the Five Inter- 
mediate Hues. 'The Principal Hues are Red (R), Yellow (Y), 
Green (G), Blue (B), and Purple (P). The Intermediate 
Hues are Yellow-Red (YR), Green-Yellow (GY), Blue- 
Green (BG), Purple-Blue (PB), and Red-Purple (RP). 
(Fig. 156A.) The elimination of yellow-orange and red- 
orange has changed the complementary colors to read: 


Red and Blue-Green—R and BG 
Yellow and Purple-Blue—Y and PB 
Green and Red-Purphkk—G and RP 
Blue and Yellow-Red—\B and YR 
Purple and Green-Yelldw—P and GY 


Use of numerals to denote gradatiyns between hues. Nu- 
merals are used to designate the hues lying between the prin- 
cipal and intermediate hues. The principal and_ inter- 
mediate hues are always 5. A clear blue would be 5B; a 

201 


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clear blue-green would be 5BG. The hues lying between 
5BG and 5B are designated as follows: 6BG, 7BG, 8BG, 
9BG, 10BG (the midpoint between 5BG and 5B), 1B, 2B, 
3B, 4B, to 5B. The 6BG has a little more blue in it than 
5BG; 7BG is another step nearer to clear blue; 8BG has still 
more blue; 9BG is four steps from 5BG and six steps from 
5B; 10BG is just halfway between BG and B. The other 
steps—1B, 2B, 3B, 4B,—each show more blue and less blue- 
green until they reach 5B. ‘There are 100 steps (decimal 
system) in the hue circuit, and they run in the following 
order from 5R back to 5R again: 


R678910R1YR234YR6789 10OYR1Y 234Y678910Y 
1GY 234GY6789 10GY 16234G678910G 1BG 234BG6789 
10BG 1B 234B6789 10B 1PB 234 PB6789 10PB 1P 23 4 
P6789 10P IRP234RP6789 10ORP 1R234R. 


Value (Symbol V). Values, in the Munsell plan have 
numbers. There are ten steps between Black and White. 
Absolute black (which the eye can not see) is 0, and is written 
N 0/. Absolute white is N 10/. Halfway between black and 
white is Middle Value, or N 5/. (Figs. 156B and 1575) 

Chroma (Symbol C). The full strength of the weakest 
color, which is blue-green, determines the circumference of 
the circle, and all other colors extend beyond the circum- 
ference in the degree of their relative strength. Red is the 
strongest color. The chart in Fig. 157 shows it to extend ten 
steps beyond neutral gray, while its opposite, blue-green, at 
its full strength is only five steps. This chart shows the 
relative strength or chroma of every hue, and it will serve 
as a guide in the use of each color. (In an ideal color solid the 
strongest colors would be those actually seen in the spectrum. 
The charts, however, are limited by the pigment medium, 
which in no ease reaches spectral strength.) Since red is 
twice as strong as its complement, blue-green, one would 
need to use twice as much of the strongest blue-green to 
obtain enough force to be the equivalent of one part of strong 

202 


How to Know Color 


red. Each color has its own chroma or intensity scale, just 
as it has its own value scale. 

Red, as has been seen, has its greatest strength at the 
tenth step of chroma. Chroma is written after a line which 
divides it from the figure used for the value, e. g., “/10.” At 
the fifth step of chroma, since its greatest strength is /10, 
it is just halfway between pure red and neutral gray. One 
can imagine steps all the way along these ten degrees, each 
one varying in the strength of its redness, while it does not 
change its hue or value. Chroma /1 would be almost neutral 
gray, but would have the faintest possible suggestion of red 
in the gray, making it a warm gray. Chroma steps /2, /3, 
/4, and /5 would continue to grow in strength and /8 and /9 
would speak a definitely strong red note. (Fig. 157.) 

Color symbols in the Munsell color notation. In the Munsell 
notation a color is expressed as follows: Hue Y@lve/chroma. 
Hue is denoted by the name or the initials of the color, viz. 
Red or R. The value is expressed by the number on the 
value scale to which it corresponds, and is written with a 
line after it : 5/. Chroma is expressed by the number of the 
step on the chroma scale, and is written after a line. The 
line is there simply to separate the value and the chroma 
notations. Thus, the five principal colors, as they appear 
in their fullest intensity on the color chart would read as 
follows: | 


R 4/10, Y 8/9, G 5/7, B 4/6, and P 3/6. 


203 


CHAPTER Ix 


HOW TO USE COLOR eat 

Success in color work depends upon selecting colors which 
are beautiful for a particular purpose, and combining them 
so that they enhance rather than detract from each other’s 
beauty. The ability to do this is worth all the trouble one 
must take in order to learn the guiding principles of color 
use. 

Every color is beautiful if it is used in the right place and 
in the right amount. Hence the wording of the first part of 
the opening sentence—“‘selecting colors which are beautiful 
for a particular purpose.” The “right place’’ may be a 
background in one case, or an accent in another. Perhaps a 
certain color would be best used either to supplement or to 
force another color, or group of colors. The object of color 
study is to become so sensitive to color relationships that the 
recognition of “right place’? becomes intuitive. 

Everyone must choose colors and use them, and for that 
reason everyone should know something about color effects 
and combinations. One hesitates to say that certain colors 
may not be used together, for as soon as a dogmatic color 
statement has been made, a genius comes along and takes 
the colors which have been condemned, and by choosing 
certain values and intensities of those colors, and combining 
them in the right amounts, he is able to make a thing of 
' beauty. This chapter, however, is for the average person, 
who wishes to learn what constitutes good taste and beauty 
in the use of color. In order to develop judgment in regard 
to colors one must learn what effects colors have upon one 
another when they are used in different quantities and in 

204 


How to Use Color 





different degrees of brightness and lightness. The state- 
ments made in this chapter may be regarded as guiding 
principles, because they have proved a help to many people. 

Unfortunately one cannot learn to apply color principles 
after merely reading them once or twice. They must be 
studied, and they must be consciously applied every time a 
color is used. After making a color chart and a value scale 
one will have gained the first steps necessary to intelligent 
color work, namely: the ability to picture in one’s mind every 
color mentioned in its different degrees of lightness or dark- 
ness (value); colors will be recognized in various degrees of 
brightness or dulness (intensity); and it will be possible to 
imagine the additional hues which appear between the colors 
shown on the color chart, such as a yellower yellow-orange 
between yellow and orange, and a redder red-purple between 
red and red-purple. 

One may be inclined to think that the principles of design 
apply to line only. This is not true. Every one of the prin- 
ciples applies to color use: Balance, or rest; Proportion, or 
beautiful sizes; Rhythm, or easy movement; Emphasis, or 
centers of interest; and Harmony, or unity; all these must be 
understood and applied in order to obtain beautiful results. 

Balance in color: The Law of Areas. Balance, or a feeling 
of rest, is the first essential for good color arrangements. 
It is the principle underlying the most important color law, 
called “The Law of Areas.” This law states: Large areas of 
color should be quiet in effect, while small amounts may 
show _ strong contrasts; the. larger. the_amount. used,._the 
quieter. - the color should be, and the smaller the amount, the 
more_striking the-contrast-may—become. These contrasts 
may be due to a decided difference in hue, in value, or in 
intensity. 

Balance of bright and dull colors. The Munsell color chart 
in Fig. 157 shows that some colors are quieter than others, 
even when each color is as bright as it can be. For example, 

205 


Art in Every Day Life 


blue-green has only five chroma steps as compared to ten of 


red. The length of each arm of the chart shows the strength 
of that color as compared to all the others. 

Starting with Chroma/5, which is the greatest strength 
of the weakest spectrum color (blue-green), Mr. Munsell 
found that any colors which are alike in value and which 
~ are Chroma/5 will present the same amount of attraction to 
the eye, and will therefore balance each other. Examples to 
illustrate this are often found in fine oriental rugs, where 
colors are usually about the same value, and are commonly 
used in Chroma/5. Since all colors of equal value balance 
at Chroma/5, it is found that just as soon as one uses any color 
brighter than that in a combination, he should use it in a 
smaller amount in order to retain the balance. On the other 
hand, if a duller color than Chroma/5 is used in such a com- 
bination the amount would be correspondingly increased. 
This is another way of stating the “Law of Color Areas.” 

Balance of light and dark colors. Value, or dark and light, 


~1s as important in color balance as brightness. While equal 
amounts of color of the same value as Chroma /5 will balance . 


each other, it is found that if there is a difference in value 
there must be a corresponding change in the amounts used, 
in order to give the effect of repose. Thus, a small quantity 
of a light value will balance a large amount of a dark value, 
or small amounts of dark balance large areas of light. 
Balance of hues: Complementary colors. Complementary 
colors,—the hues which lie directly opposite each other on 
the color chart—form a natural balance because they com- 
plete or complement each other in the eye. (See Figs. 155 and 
156A.) It is a well known fact that one can rest any one 
set of muscles in the body by using another set, as in chang- 
ing occupations. The same thing is true of using the nerves 
of the eye which make color vision possible. On the retina 
of the eye there are a great many tiny nerves which are 
sensitive to various colors, but which are capable of growing 
206 





How to Use Color 





tired and refusing to work. Experiments may be made in 
order to discover what happens when one fatigues the 
nerves which respond to each color. Take, for example, a 
piece of red paper, of spectrum hue, value, and intensity. 
Hold this against a piece of white paper, covering some of 
the red with the thumb. Sit in strong daylight and stare 
at the red paper for some time. After a short while the 
paper will seem to grow duller; to prove that this has hap- 
pened, lift the thumb and it will be seen that the spot which 
was covered appears much brighter than the piece which 
one has been looking at. One set of nerves was registering 
the color of the thumb and so the red nerves at that spot 
in the eye did not become fatigued. After looking still 
longer at the red paper, take it away and look at the 
spot on the white paper where the red had been, and a dis- 
tinct bluish-green will be seen, which is the complement of 
red. Blue-green is the color which is left in the eye after 
these red nerves refuse to act. Thus it will be seen that if a 
touch of complementary color 1s used in an arrangement it 
brings all of the nerves of the eye into use and prevents any 
one set from becoming overtired. : 

To illustrate the balancing of hues, imagine a room 
furnished in tan and brown with accents of orange and red- 
orange. This room would become monotonous. Add to the 
scheme, however, some of an opposite color, which contains a 
large amount of blue, such as blue-purple or blue-green, and 
the room will appear restful and pleasing through the intro- 
duction of the balancing color. If the bluish colors were 
bright, the room would need only a small amount, such as 
could be supplied through figures in draperies, a vase and a 
candle. Complementary colors produce such strong con- 
trasts that only a small touch of a bright opposite color is 
needed to give balance. 

Balance through “crossing” or repetition. There are two 
ways to balance colors. The first way, as has just been seen, 

; 207 


Art in Every Day Life 





is through the selection of the proper amounts of bright and 


dull colors, according to the “ Law of Areas,” and the second 
is through ngement of these colors., Colors or values 


ean be balanced by repeating some of the same colors or 
values in various parts of an arrangement, and this repeti- 
tion—sometimes called “crossing’— has a tendency to 
give a feeling of rest. To illustrate balance by crossing, let 
us imagine a dining room in which the walls and woodwork 
are ivory-white, and the furniture mahogany. Suppose that 
some draperies in which blue-green predominates are hung 
at windows which are on one side of the room. The con- 
centration of the only blue-green in the room on that one 
wall would make the color scheme seem incomplete. If 
some echoes of the blue-green were to appear in the 
accessories seen against the other walls and if possibly a 
note of 1t were repeated in chair seats or in the rug, there 
would be a pleasant effect of color balance. A second illus- 
tration may be drawn from the field of window decoration. 
In the window something of the same hue (not necessarily 
in the same value or intensity) could be used on both sides 
of the center to create balance. A purple dress at one side 
would be balanced by a purple hat on the other side, farther 
away from the center, since the hat is smaller than the dress; 
if the hat were much brighter than the dress it might balance 
it at the same distance from the center. 

Since each color has the power of attracting attention 
through its hue, value, and intensity, that attraction must 
be considered as the “weight” of the color, and the color 
arranged according to the principles used in placing large and 
small objects. 

Proportion in color. The study of proportion showed that 
interest may be gained through a subtle variety in propor- 
tion, while monotony results from too much repetition. 
Since this principle applies to color as well as to sizes, color 
combinations are more beautiful when the amounts are 

208 


How to Use Color 





varied than when they are equal. A dress or a hat, for 
example, made of more than one color would be more in- 
teresting if unequal proportions of the colors were used than 
if the amounts were alike. In any arrangement, if the colors 
to be combined are equal in their power to attract attention, 
the Greek proportion, of about two parts of one to three of 
the other, will be a good distribution. However, if the colors 
are very different in their forcefulness, they should be ar- 
ranged according to the “Law of Areas,” and the bright 
colors used in small amounts. 

Rhythm wn color. Colors should be so arranged that the 
eye can move easily from one to another. A fine example of 
such a composition is shown in Fig. 105 in the chapter on 
Rhythm. Notice how the arrangement of the blacks leads 
the eye easily throughout the picture. When colors are 
skilfully repeated in several places in a room or in a costume, 
the eye travels rhythmically as it follows these colors. 
Rhythmic color also results from the use of gradations in 
hue, value, or intensity. This, too, is seen in the Japanese 
print, where there is a gradual change from the lightest 
colors through the grays to black. 

Emphasis in color. Emphasis in color can be gained 
through contrasts of hue, light and dark, and brightness. 

In any color arrangement there should be one outstanding 
color effect. Whether the scheme be very quiet and simple, 
or complicated, one should be conscious of a main color, 
perhaps in different degrees of distinctness, or in various 
values and intensities. For example, there may be an 
effect of a yellowish tone running through a group of orange 
and green tones, or bluish through greens and purples. The 
effect of every other color which is used in that arrangement 
should be subordinated to the main color in order to prevent 
confusion. If only black and white and grays are used, the 
same principle would be followed, and one value should 
predominate. 

209 


Art in Every Day Life 





In the chapter on Emphasis one of the most important 
principles in color use was discussed. This principle is as 
follows: Backgrounds should show less emphasis than the 
objects which are placed against them. Colors which are to 
be used as backgrounds in rooms and in store windows 
should be very dull, because the duller they are, the more 
effective are the objects that are seen against them. 

Harmony in color. Color combinations which give pleas- 
ure are those which show harmony or unity. They give the 
impression that all the colors really belong together, and yet 
at the same time there is sufficient variety so that the ar- 
rangement does not become monotonous. 

The color charts in Figs. 155 and 156A show that there 
are two large groups of color, the warm colors, which include 
the reds and yellows, and the cool colors, which lie around 
blue. There is a certain family likeness,—a natural har- 
mony—among the warm colors, and a similar kinship and 
unity among the cool colors; therefore, if one wishes to ob- 
tain color harmonies he will combine warm colors with warm, 
and cool colors with cool. If contrasts are desired, some 
cool color may be used in a warm scheme, or a warm color 
note introduced into a cool scheme. There are, however, 
degrees of warmth and coolness within the warm and cool 
groups. Blue of full intensity is colder than a somewhat 
neutralized blue, since the orange which neutralized it has: 
also warmed it. Blue-green is warmer than blue because 
it contains yellow. Therefore, if one wishes to use a cool 
color as an accent in a warm scheme, a tone of blue-green or a 
somewhat neutralized blue will be more harmonious with it 
than a clear, cold blue. Similarly, if one were bringing a 
fairly large amount of a warm color into a cool scheme, it 
would be better to use the yellow, yellow-orange, and orange 
tones than a full intensity red-orange or red. If the warmest 
of the warm hues were used they should be neutralized, since 
the addition of the complement tends to cool them. Dis- 

210 


How to Use Color 





cord, instead of interesting variety, is apt to result when 
extremely warm colors are combined with cold colors, unless 
one follows the “‘Law of Areas,”’ and uses these contrasts in 
very small spots. 

Background colors. The most unifying colors are the colors 
of light—yellow, yellow-orange, and orange. When these 
colors are dull enough, as in grayish tans and taupes, any 
hue looks well against them, and therefore they make the 
most useful colors for backgrounds. It will be found that 
the grayed warm hues, which are somewhat advancing, have 
a tendency to unify the colors which are placed against them. 
The cool hues, which recede, have a tendency to separate 
colors seen against them. 

Beauty in color schemes. The most beautiful color schemes 
are those which give a single impression: an impression of 
warmth, with a note of coolness for variation; or of coolness, 
with its accent of warmth. It is particularly desirable to 
follow this order when one is planning colors for anything so 
large as a room or a display window. For example, in a 
window display of suits and dresses of cool colors,—blues, 
blue-greens, and greens,—it would be interesting to bring in 
just a little orange and red-orange in scarfs or hats for the 
warm accents. A typical example in house furnishing may 
be visualized through the description of a color scheme for a 
bedroom. The colors are suggested by a Japanese print 
which hangs in the room. The colors are mainly warm, with 
some accents of cool color. The walls and woodwork are a 
soft ivory tone.! The drapery material, which is illustrated 
in Fig. 222 has a cream colored background with a pattern 
which shows masses of sunny golden-yellow,’ and pinkish 
tan,’ with a touch of tomato red,‘ and some bits of purplish 


1 (YO 7/8N HL) (YR 8/1) 
2 (YO 1/4N LL) (YR 6/7) 
3 (RO 7/8N LL) (RO 6/2) 
4(RRO 1/8N M) (6R 5/8 


211 


Art in Every Day Life 


blue and green which give contrast and add distinction to the 
room. The blue is dark,! and the green is slightly yellowish, 
and the same value as the red.”?. The rugs are inconspicuous, 
with a warm tinge in the nearly neutral colors, and the 
furniture is mahogany. Some of the cool colors of the 
draperies and the Japanese print are repeated on the fourth 
side of the room in candles and in an Italian pottery box. 
Here, then, the first impression is of a group of colors related 
to the orange family, with points of cool colors for interesting 
variation. 

Keyed color. A combination of several colors is said to be 
keyed when each color has something in common with every 
other color. A fine colorist will say that this keying of color 
is the secret of his success. Colors may be keyed to each 
other in the following ways: 

' (1) By neutralizing them. 

| (2) By mixing them to introduce a color in common. 
(3) By glazing, veiling, or topping them. 

| (4) By tying them together by means of a neutral color. 
| (5) Through the use of a rough texture. 


“Keying by neutralizing. Since all the hues are present in a 
neutralized color, it is apparent that any colors which are 
neutralized are keyed, because they have something in com- 
mon. 

Keying by mixing. The admixture of a common color will 
key two rather widely separated colors. Yellow and blue are 
brought together by the use of green, and red and yellow are 
keyed by combining orange with them. 

Keying through glazing, veiling, and topping. One color 
placed over the top of a group of colors will key them. In 
painting, this method is called glazing, and a golden colored 
varnish, or a flat wash of one color over a picture will unify 
all the colors in the composition. In dress, this result is 

1 (BBV 1/4N D) (7PB 3/8). 

2 (GYG 1/8N M) (4G 5/6). 

212 


How to Use Color 


achieved through placing a transparent or semi-transparent 
fabric over several colors. Chiffon or georgette over a 
figured material, or over the many colored flowers on a 
hat will key the colors. When this method is used in dyeing 
it is called topping. A piece of embroidery with inharmonious 
colors may be keyed by dipping the piece in a weak dye 
bath of some beautiful color. 

Keying through tying. Colors which are not entirely 
agreeable when placed next to each other may be tied to- 
gether or harmonized by the use of a neutral tone between 
the two colors. The neutral tones which are best suited for 
tying colors together are black, white, gray, silver, and gold. 

Keying through texture. A rough texture will have a 
tendency to key colors because of the variations in light and 
shadow over its surface. For example, one may use brighter 
colors in a design to be printed on terry cloth than would be 
chosen for glazed chintz, for the rough weave of the terry 
cloth would tend to melt the colors together. 

A concrete illustration of keying colors. Let us compare 
the background colors in two living rooms. The colors in 
“A” have not been keyed, while those in “B” have been 
keyed to yellow-orange. 

A. The walls are light and bright—a tint of clear yellow- 
orange; the woodwork is painted a bluish white; there are 
figured draperies of bright blue-purple, yellow, green, and 
orange, on a blue-white background; the rug is a strong 
yellow-brown. Each color stands out by itself, and has 
nothing in common with any other. Since these background 
colors are not keyed they lack unity, and they will not be 
able to unify the colors used in the furnishings of the room. 

B. The background here is a tint of yellow-orange which 
has had enough blue-purple mixed with it to neutralize it 
partly, so that it now appears as the color known as a soft, 
grayish tan. The white of the woodwork has been keyed to 
yellow-orange by mixing with it a little yellow-orange paint, 

213 


Art in Every Day Life 





’ 


making it “‘ivory-white.” The strident colors of the drapery 
material in “A” have been keyed to the walls and to each 
other by “topping,” or dyeing the fabric in a weak dye bath 
of soft yellow-orange (called sand color). Contrast the soft 
tan, the ivory tone, the warm taupe, and the soft grayed 
blue-purple, tan, and gray-green of this room with the un- 
keyed colors in “A.” All the colors here are keyed to yellow- 
orange, and thus they are unified; they have been made dull 
enough so that the colors placed against them will show to 
advantage. 

Sources for color harmonies. There are two ways in which 
color arrangements may be made: 

(1) They may be adapted from a beautifully colored 
picture or fabric, and fitted to a special need. 

(2) They may be made by combining related or con- 
trasting colors according to the “Law of Areas.” 

The enterprising color worker keeps his eyes open for 
good color suggestions, and he has a collection of reference 
material which he is always changing. His taste improves 
as he studies, and while there are frequent additions to his 
file, there are many subtractions. Sometimes a magazine 
cover will offer a wealth of suggestions for color arrange- 
ments. Quite frequently beautifully colored advertisements 
appear in the magazines. Other sources are: fabrics, such 
as cretonnes, printed linens, and silks; some Japanese 
prints; post-cards of good paintings, such as the pictures by 
Whistler; and the books illustrated by Edmund Dulac, 
Arthur Rackham, or Jules Guerin. Very often one may 
select a portion of one of these colored plates to follow. If 
the worker is choosing only a small section he must be sure 
that he is selecting balanced colors. There is a tendency in 
working from such illustrations as have been mentioned, to 
overlook the Law of Areas, and not use enough dull color 
to make an effective setting for the bright colors. When the 
sizes are increased, as would be the case if a room decoration 

214 


How to Use Color 





were planned from a small post-card, there must a propor- 
tionately larger amount of dull color and a smaller amount 
of bright than is shown in the original picture. In copying 
these beautiful color schemes, the worker must be able 
accurately to analyze the colors for their correct hue, value, 
and intensity, in order that the same delightful color relation- 
ships may be preserved. If the appealing color is blue-green, 
and it is next to a beautiful tone of orange, the colors should 
be kept in similar positions. If the blue-green were placed 
next to a purplish blue, which, in the picture, is widely 
separated from it by a large area of neutral color, the result 
will not have the beauty that the worker had hoped to secure. 
Remember that sometimes the fine quality in a color scheme 
is due to the values which are used, while in other arrange- 
ments it is due to the balance of dull and bright colors. One 
must discover what has made the original beautiful before 
attempting to adapt it to another purpose. 

Standard color harmonies. There are certain color combi- 
nations which give pleasure to the eye and others which are 
apt to offend. Until one has had a great deal of practice in 
combining colors it is well to follow the harmonies which 
have been used successfully by artists for many years. These 
harmonies may be divided into two main groups: 


A. Harmonies of Related Colors. 
B. Harmonies of Contrasting Colors. 


Retatep Harmonies. Related color harmonies are those 
in which the colors are similar. They include: 

(1) The One Hue Harmony. 

(2) The Analogous Harmony. 

The simplest of these is the One Hue Harmony. 

One Hue Harmony. (This is also called One Mode, and 
Monochromatic.) (See Fig. 178A.) In instances where only 
one color is used there may be different values and inten- 
sities. A one hue harmony is always a safe one to use, but 

215 


Art in Every Day Life 





it is more successful for dress, or for something which is 
comparatively small in area, as a rug, or even walls and 
rugs; it would become tiresome if it is carried out in an 
entire room, such as was described in the paragraphs on 
Color Balance. In one hue harmonies additional interest 
may be gained if there is a contrast in the textures which are 
combined, as serge with taffeta, or taffeta with georgette. 
A man’s apparel would show a one hue harmony of blue in 
different values and intensities if he were wearing a dark 
blue suit, a white shirt with stripes of a lighter and brighter 
blue, a dull blue tie, and black hat and shoes. The neutral 
colors, black, white, and gray may be used in any harmony. In 
matching colors for a one hue harmony be very sure that 
you are getting the exact hue; a greenish blue is unpleasant 
with a purplish blue, and a reddish purple,—crimson, for 
example—is bad with.reddish orange—such as scarlet. In 
matching colors it is safer to try them both by daylight and 
by artificial light, since some colors take on an entirely 
different hue in artificial light. 

Analogous Harmonies. When colors are used which lie 
next to or near each other on the color chart they form 
analogous harmonies. They are usually most successful 
when they are limited to the colors which come between the 
primaries, and they may include any or all of these adjacent 
hues. For example, between the primaries yellow and blue 
such combinations as G and BG; Y, YG, and G; or YG, G, 
BG, and B, might be used. An analogous harmony shows 
one color running through the entire group; as green running 
through YG, G, and BG; or orange through YO, O, and RO. 
(See Fig. 178D.) 

In using analogous harmonies the colors should always 
be in different values or different intensities; or they should 
differ both in value and intensity. If they are too nearly 
alike it will seem as though an attempt had been made to 
match the colors, but that the result just missed being 

216 


How to Use Color 





successful. Three adjacent combinations which are ex- 
ceedingly difficult to manage are the colors on either side of a 
primary. ‘These pairs are: RP with RO; BP with BG; 
YO with YG. It takes genius to combine red-purple and 
red-orange beautifully, and talent successfully to use blue- 
purple with blue-green, or yellow-green with yellow-orange, 
because those colors are neither different enough to form 
good contrasts nor similar enough to create harmonies. 

Analogous harmonies are apt to be quiet and restful, and 
they show more variety and interest than one hue harmonies. 
They may be used for any purpose, although, we repeat, they 
are not so completely successful for the color scheme of an 
entire room. 

HARMONIES OF CONTRASTING CoLors. The contrasting 
harmonies are: 

(1) The Complementary Harmony. 

(2) The Double Complementary Harmony. 

(3) The Split Complementary Harmony. 

(4) The Triads. 

Combinations of opposite colors are more difficult to 
use than those of neighboring colors because their success 
depends entirely upon a knowledge of the “Law of Areas.” 
When they are well done, however, they are richer than 
related harmonies, and more satisfying to the eye, for rooms, 
window displays, or for other purposes where large amounts 
of color are to be used. The addition of a contrasting color 
to a color scheme is like adding pepper to food, and therefore 
the “Law of Color Areas” should be scrupulously followed 
when contrasting colors are used. 

Complementary Harmonies. When colors which are di- 
rectly opposite each other in the color circle are used they 
form complementary harmonies. In the Prang circle they 
are Y and P; B and O; R and G, ete. In the Munsell circle 
they are Y and PB; B and O; R and BG, ete. 
Complementary schemes may be most pleasing, or they 

217 


Art in Every Day Life 


may be the least satisfactory, depending upon how they 
are used. The reddish hues, in particular, need careful 
handling, because they are so much stronger than their 
complements. Either they or the complement should be 
very dull, or very light or dark, or else only a small note of 
the opposite should be used. Of all the contrasting colors, 
red and green are perhaps the least beautiful, and they are 
the most difficult to combine. Even their tints, pink and 
green, lack character when placed together. The comple- 
ments as seen in the Munsell chart—red with blue-green, or 
green with red-purple—are much more pleasing; but, as has 
been said, they must be handled with care. (See Fig. 178C.) 

Double Complementary Harmonies. 'Two directly adjacent 
colors and their complements, when used together, form 
_double complementary harmonies. Examples on the Prang 
chart are: P and RP with Y and YG. (See Fig. 178B.) R 
and RO with G and BG. In using a double complementary 
harmony there should be one outstanding hue, which would 
be the largest amount used, and it should be the dullest of all 
the colors; the next color may be a little brighter, but should 
still be very dull; the third color, used in only a small amount, 
ought to be about one-half neutralized; the fourth color, for 
the smallest accents, may be in or near its brightest intensity. 
To illustrate: a dull purple dress might have an ecru ! net 
vest and collar; a rather dark, dull red-purple hat with wool 
embroidery in light, dull purple, and a bit of some bright 
yellow-green would complete the double complementary 
harmony of P, RP, Y, and YG. 

Split Complementary Harmonies. Combinations of a 
primary or an intermediate color with the colors on either 
side of its complement form split complementary harmonies. 
For example, Y with RP and BP; or YO with B and P. As 
the term implies, one splits the complement of a hue, using 
only its component parts, and omitting the complement. 


1 Ecru is the popular name for Yellow—about three-fourths neutralized. 


218 


How to Use Color 


Since a primary is an element, the colors on either side of it 
do not enter into its composition. Therefore, one cannot 
start a split complementary harmony with a binary color, 
because it is impossible to split a primary. The result, in a 
split complementary scheme, is a harmony of similar colors 
with a note of an opposite color for contrast. The amounts 
of the different values and intensities should be adjusted as 
in any other contrasting harmony. 

Triads. Triads are equilateral triangles on the Prang 
color chart, and on the Munsell chart they are as nearly 
equilateral triangles as can be made with ten colors in the 
circle.2 There are four triads on the Prang chart: The 
Primary Triad, made of the three primary colors, R, B, and 
Y; the Binary or Secondary Triad—G, O, and P; and the 
two Intermediate Triads—(a) YO, BG, and RP, (See 
Fig. 178E) and (b) YG, BP, and RO. 

While triads are the richest of all the harmonies if they 
are well used, they are the ones which need the most careful 
treatment. 

How to combine contrasting colors. When three unrelated 
hues have to be combined the color worker feels as if he were 
handling high explosives, and he usually follows some such 
plan as this: The color chosen to occupy the largest space is 
so low in intensity that it is almost gray; the next amount 
will be at least one-half neutralized; the third may be bright, 
but only a small amount should be used. Imagine a cretonne 
showing the YO, BG, and RP triad; the background is YO, 

2 Munsell triads. The hues which form the points of the triangle should always 
be at least three hues apart on the color chart. Thus every triangle will have three 
spaces on two of its sides, and four spaces on the third side. Put a piece of trans- 
parent paper, as tracing or tissue paper, over the color chart in Fig. 156A, and draw 
these triangles, locating each one of these triads. Starting with RP and counting 
three hues toward the right, draw a line to Y; from Y count three points farther to 
BG, and draw another line; connect the BG and RP, and you have the RP, Y, and 
BG triad. A second triad which includes RP can be made by counting four hues to 
the right, to GY, and three hues beyond it to B, resulting in RP, GY, and B. The 


third triad with RP is located by counting three hues to Y, and four to B, giving 
RP, Y, and B. Any similar triangles on the chart will locate triads. 


219 


Art in Every Day Life 


so nearly gray that it would be called a soft, dull tan; the 
larger amount of the design is a darker, dull YO, and a dull 
BG, and there are small figures of bright RP. These colors 
balance each other because they use all of the color nerves in 
the eye; and, because they are so varied in degrees of bright- 
ness and in amounts, they give pleasure. 

The most beautifully colored rooms are apt to contain 
many colors rather than few, and a definite relationship 
may usually be discovered among these colors. Although 
a room which shows a complementary color scheme will 
be more interesting than one in which only analogous 
colors are used, the most satisfying effects are secured by 
the use of triads when they are combined in the areas and 
intensities which are described above. On first thought, 
a yellow, and blue, and red room might sound bizarre, but 
when one speaks of these colors as tan, old blue, with notes 
of terra-cotta, a different picture presents itself, for here 
are colors which are harmonious because they are keyed, 
and at the same time there is pleasurable variety because 
balancing groups of color have been used. 

SUMMARY OF POINTS FOR SUCCESSFUL CoLor Work: 

(1) A color scheme should give an impression of being composed 


mainly of warm colors with accents of cool colors, or of being a 
cool scheme with touches of warmth. 


(2) Colors should be balanced by one or more of the following 
methods— 

(a) Through the application of The Law of Areas, which states 
that the larger the area, the duller the color should be; 
and the smaller the area, the brighter the color may be. 

(b) Through the Repetition or Crossing of colors, which insures 
a restful effect, obtained by repeating an important color 
from one part of an arrangement to another. 

(c) Through the Balancing of Hues. When large areas of color 
are to be used, as in rooms, stage settings, or window dis- 
plays, the use of balanced hués, such as pairs of complements 
or triads, will produce an agreeable sense of variety. 


(3) Colors should be keyed. In order to gain harmony in an ar- 
rangement, all the colors which are used in large areas should 
appear to contain one color in common. 


220 


} 
; 


oe 


CHAPTER X 
SOLVING AN ART PROBLEM 


There are three things which together qualify a person 
for preparing suitable designs or making wise purchases. 
First, he must be able to measure his choices according to the 
principles of art in order that his selections may have beauty. 
Secondly, he must know enough about the materials and 
processes used to be able to judge good workmanship. 
Thirdly, he must have a certain store of related information, 
such as some knowledge of science and economics, which has 
a more or less direct bearing upon his problem. These 
qualifications make it possible for him to form a good judg- 
ment upon: 

(1) Whether the object should be purchased or made. 

(2) The factors which affect good quality. 

(3) The right price to pay in relation to the income, 
considering the other demands made upon the income. 

(4) The time and strength consumed in making the 
object in the light of the return it makes (this return may 


be measured in increased skill, or in the satisfaction which 
results from the finished object). 


(5) The time and strength it will take to maintain it in 

good condition. 
The ability to apply this related information should give 
one a sense of relative values, and of appropriateness. It is 
only when a problem in purchasing or in designing has been 
worked out to satisfy all these requirements that it may be 
called a Related Art Problem. 

The plan suggested here can be applied to the solving of 
any art problem. It is based upon the generally accepted 
steps in solving a problem, and everyone should think 

22) 


Art in Every Day Life 








through the various stages or jot down his conclusions before 
making or buying anything which has to be lived with and 
looked at for a length of time. This plan for solving a prob- 
lem has four steps: 


(1) Recognizing the problem, which is the setting up 
of a definite aim or purpose to be accomplished. 





Fig. 158.—(Courtesy of Wm. A. French & Co.) 
If one were considering the purchase of a suitable rug for this dining room his 
choice might be a rug similar in type to Fia. 159. 


(2) Making a plan for working out the problem, which 
involves collecting all the information related to it. 

(3) Carrying out the plan. 

(4) Testing the results and making a final judgment 
of the success or failure of the plan before accepting it or 
discarding 1t to make another. 

In considering a typical problem, such as the selection 
of a rug, the details of the plan would be filled in somewhat as 


follows: , 
Tur PropieM. The aim is to select a suitable rug for 
the dining room illustrated in Fig. 158. 
Tue Puan. Some of the factors which will need to be 
922 


Solving an Art Problem 


considered before a satisfactory rug can be selected are: the 
room,—its purpose, size, shape, wall treatment, furnishings, 
and the people who are to use it; textile information,—such 
as weave construction, properties of fibres used for rugs, and 
textures which are suitable for a floor covering, for the use of 
the room, and for the type of furnishings; art information,— 
standards of structural and decorative design, and of color; 
economic aspects,—amount that should be spent, time and 
effort required to keep the rug clean, reduction of cost of 
maintenance by wise selection, effect of buying good mate- 
rials and colors, and reliable shops or makes of rugs. 

SUGGESTIONS FOR CARRYING OUT THE PLAN. The Room. 
It is a dining room, 13’ x 17’; the walls are a plain neutral 
color, a light yellow-orange about 7/8 neutralized, so that the 
effect is sand color; the furniture is walnut; the urns are 
ivory with a.clear dark blue pattern; the picture above the 
buffet is full of sparkling color, with the warm hues pre- 
dominant; there are chintz window draperies which repeat 
the colors in the picture, but they are a little more sub- 
dued in effect. The family consists of four adults. They 
are fairly conservative people with simple tastes. These 
characteristics have expressed themselves in the choice of the 
furnishings already in the room; the furniture shows them 
to be unpretentious and able to enjoy the simple beauty 
which results from good line, good construction, and restraint 
in decoration. 

Textile Information. Materials should be chosen for 
appearance and economy. ‘The fibres used for rugs are— 
worsted, woolen, linen, cotton, hemp, and jute. As to 
wearing qualities worsted is best, and woolen next. The 
two principal types of weave construction in floor coverings 
are: (1) those with a plain weave, like ingrains, and (2), the 
pile weave, like Wiltons, Brussels, and Axminsters. (Wor- 
sted Wiltons are made in good colors and designs, and wear 
well.) Textures should be sturdy enough to appear suitable 

P2238 


Art in Every Day Life 








to walk upon, and not so harsh as to be unpleasant. The 
dining room needs a texture which is not easily crushed, and 
the pile should not be so high that food particles will lodge 
in the body of the rug. The character of the furniture and 
the decorative objects in this room require a rather fine 
texture, yet a substantial fabric. 

Art information. (1), Structural Design. The shape of the 
rug should harmonize with the shape of the room. It is 
desirable to have it large enough to appear to cover the floor 
space adequately, and to escape being in the way as chairs 
are pushed away from and toward the table. It should not 
seem to crowd the room. 

(2), Decorative Design. A design which is beautiful for a 
rug should be very quiet in effect; that is, it should appear 
to stay flat upon the floor, and form an inconspicuous back- 
ground. A plain rug, suitable and beautiful in color, is 
always good. Any pattern that is used on a rug should be 
quiet in appearance. It should not have too much “move- 
ment,” and it should not look spotty. The type of design 
should be in harmony with the furnishings and should be 
suitable for a floor covering. These considerations call for a 
well packed, conventionalized surface pattern. 

(3), Color. Since the rug should be the most inconspic- 
uous thing in the room and be a background for the furniture, 
quiet colors with not much contrast between the lights and 
darks should be chosen. Since this room has color in its 
furnishings, it is especially desirable to have the rug a neu- 
tral background color. | 

Economics. In this instance there is a sufficient amount 
of money to buy a rug of good quality, but not enough to 
have it sent to the cleaner frequently, and it cannot soon be 
replaced. Therefore the rug must be of a fibre and weave 
that will wear well, and of a pattern and color that will not 
show spots easily. Since it requires more experience to 
judge the qualities of a rug than the average person has had, 

224 


‘Solving an Art Problem 


it is desirable to know some reliable makes of rugs, or to 
know stores which are dependable. 

CARRYING Out THE PLAN, or MAKING THE SELECTION. 
After the person who is to select the rug has acquired the 
necessary information concerning all the factors which have 





Fic. 159.—This is a good type of figured rug because the design is flat in effect, 
it covers the surface compactly, and there is little contrast in value. 


been listed, and has applied it to the problem at hand, he is 
able to make a satisfactory selection. He would choose, then, 
from among the available rugs, one somewhat as follows: 
Size, 9’ x 12’; fibre, worsted yarn; weave, Wilton; design, an 
all-over pattern of very closely packed design with very 
little contrast in light and dark values; color, a warm taupe 
(red-orange, 7/8 neutralized, about High Dark in value). 
The rug in Fig. 159 fulfills these conditions, and might be the 
rae 


Art in Every Day Life 


one which would be selected from an average stock of 
rugs. 

Tue Frnat JupGMent. The final judgment can be made 
only after the rug has been used. The success of the choice 
will be measured by the degree of satisfaction derived from 
the use of the rug. 


226 


CHAPTER XI 
HOW TO MAKE A DESIGN 


The designing process is a form of organization in which 
the elements are a collection of units. These units, in the 
art field, happen to be sizes and shapes and colors. A good 
design is built as logically as any other form of organization, 
and may be compared to a country which is made up of 
states, counties, cities, blocks, and lots. 

A knowledge of a logical process for making a design is of 
value to the consumer as a matter of intelligent appreciation 
of the things he uses. It is of value to the person actually 
making designs because it becomes an easy, consistent 
method of working. By observing the principles of art 
which have been described in the previous chapters, anyone 
can learn to make orderly, acceptable designs. Since design 
is a form of self-expression one may expect to add quality 
and individuality to his work in the measure of his apprecia- 
tion and his imagination. There is no better way to develop 
imagination, good judgment, and fine standards of taste, 
than through the study of good designs and the conscious 
application of the art principles. 

Although the different uses for designs will impose differ- 
ent limitations for working them out, the same general 
method may be followed in making designs for any purpose. 
A general working plan is outlined here, followed by an 
application of the plan to such familiar problems as how to 
make a design for a woven runner, a room, and a costume, 
how to mount a picture, and how to letter. 

There are two considerations in every design: First, the 
shape of the object itself, called the structural design; second, 

O21 


Art in Every Day Life 








the enrichment of that structure, or the decorative design. 
Before one can be a successful designer he must get rid of the 
idea that design includes only the decoration which is added 
to an object. The structural design is of greatest importance, 
and it should have the designer’s first consideration. The 
following factors are involved in the making of a good design: 


(A) Kinds of design. 
(1) Structural Design. (See Chapter IT.) 
The size, shape, color, and texture of the object. 


Note. Since the structural design is the fundamental or 
essential part of an object it must be beautiful in itself. 


Structural design is conditioned by— 
Standards for good design. 
The use to which the object will be put. 
Surroundings. 
Person for whom the object is planned. 
(2) Decorative design. (See Chapter IT.) 
The enrichment of the object. 
Note. Decorative design may be omitted. If it is used it 
should be subordinated to the structural design. 
Decorative design is conditioned by— 
Standards for good design. 
The structural design. 
The use to which the object will be put. 
Surroundings. 
The person for whom the object is planned. 
Personality of the designer—(which determines the 
quality of the design.) 
Amount of decoration desirable. 
Nature of the design :— 
Motif or idea: 
Sources 
Abstract or geometric lines or masses 
Symbolism 
Nature forms 
Treatment: 
Conventionalization, or adaptation to the materials 
used and the use to which the object will be put. 
Pictorial or naturalistic treatment. 


228 


How to Make a Design 








(Suitable for pictures, but not appropriate on articles 
for use, such as clothing, house furnishings, 
decorative objects, etc.) 


Note. An essential requirement for good decorative 
design is character—in art sometimes called 
“Decorative Quality.” 


(B) Method of working out a design. 
(1) Structural design. 
Plan the size, shape, and color of the object, according to the 
principles of design: 
Proportion 
Harmony 
Shape 
Texture 
Ideas (suitability to purpose) 
Color 
Rhythm 
Balance 
Emphasis 
Execute the structural design. 


(2) Decorative design. 
Geometric plan or “lay-out.” 

The objective of the lay-out is to secure an orderly ar- 
rangement. 

Within the structural design the principal masses of form 
and color of the decoration are indicated by sketching 
or “blocking in” the sizes and shapes in their posi- 
tions. (See Fig. 160.) 

Arrange forms and colors according to: 

Emphasis 
(Decorative design should be subordinated to struc- 
tural design.) 
Proportion 
Harmony 
Rhythm 
Balance 

The details of the decorative design. 

The objective at this step is to secure beauty and a 
decorative treatment. 


229 


Art in Every Day Life 


Arrange and judge forms and colors according to: 
Emphasis 
Proportion 
Harmony 
Rhythm 


Balance 


Designs which have been worked out in this manner have 
coherence, and the worker is enabled to perceive relative 
values if he uses this process: first, planning his structural 
design; second, blocking in the entire area which the decora- 
tion is to occupy; and third, breaking up this area into de- 
tails which are related to each other and to the entire struc- 
ture. 

Analysis of the making of a design. A concrete example 
of the process of building a design is illustrated in Fig. 160A, 
B, C, D, E, and F. In order that all the steps of this problem 
may be considered, let us assume that the designer of the 
blue and white runner which has been chosen for this analysis 
has planned to use it on a chest of drawers in a particular 
bed room. The furniture is mahogany, and there is much 
white in the room, so that a white runner will not stand out 
too conspicuously, and the blue of the pattern will make an 
interesting color contrast. 

The structural design. First step. (Fig. 160A.) The 
objective is to show a well proportioned border of wood on 
each side of the runner on the top of the chest, and to have 
the scarf hang down over the sides so that an oblong of 
interesting shape may be seen against the side of the chest. 
The top of the chest measures 20” x 34’, so the structural 
design will be an oblong which measures approximately 
15k Dae 

The position of the decorative design. Second step. (Fig. 
160B.) Itis decided that the ends of the runner are to receive 
the decoration. (See “F.”’) The space which it is to occupy 
is then blocked out on the structural design as at “B.” This 

230 


How to Make a Design 


space is compared with the remaining background areas, 
and adjusted if necessary, in order to gain good proportions. 

Breaking the space. Third step. (Fig. 160C.) The big 
space which is to contain the design is subdivided. These 
new shapes and spaces are tested to see that the proportions 
are beautiful and the shapes harmonious with the big oblong 
within which they are designed. 

Filling the spaces. Fourth step. (Fig. 160D.) The spaces 
are broken up still farther, and the general movement which 
the eye is to take is now determined. ‘The tests for the 
art principles are applied, and the designer asks himself if 
his design adequately fills the space; if it looks orderly; if an 
easy, rhythmic movement is created by the leading lines; if 
the proportions are agreeable; and if the background shapes, 
as well as those of the design itself, are beautiful, and in 
harmony with each other. 

Determining the character of the design. Fifth Step. (Fig. 
160E.) It is at this point that the character of the design is 
established. The motif.may have been selected before the 
design was started, or it may be chosen at this stage in the 
process. The beginner may be more certain of getting 
character and distinction into his design if he seeks his 
inspiration from designs which he knows to be good. He 
may select a good idea, interpret it to suit his own taste, and 
change it in whatever manner he finds advisable in order to 
adapt it to his design and its purpose. The libraries and 
museums hold a wealth of inspiration for young designers, 
and it is not difficult to secure Persian, Coptic, and peasant 
designs such as those of Czecho-Slovakia, which afford 
excellent illustrative material. Some of these designs may 
furnish an idea for the plan or the “geometric lay-out,” 
while others may suggest interesting details. The motifs 
chosen for this design are flower and bird forms. These 
ideas were adapted to the shapes “blocked in” in “D.” The 
forms were conventionalized in order to make them suitable 

231 


Art in Every Day Life 


eS) She eee 


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Nos Te (1 CAST EELS se, 














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Fic. 160.—A, B, C, D, and E. An illustration of the process of building a design. 
232 


How to Make a Design 





for use and adapted to the process of weaving. The back- 
ground shapes were as carefully studied as the shapes of the 
pattern, for they are just as important a factor in the effect 
of a design. 

Adding and beautifying the details. Sixth step. (Fig. 
160F.) After adding the details and refining them, the 
design is again judged according to the principles of art. 





Fie. 1607. — Blue and white towel, Italian, Umbrian, XV Century. (Courtesy 
of the Minneapolis Institute of Arts.) 

This conventional design is adapted to the process of weaving. Observe the 
fine pattern created by the sizes and shapes in the border, and the decorative 
quality in the interpretation of the bird and plant forms. 


When it is beautiful as well as orderly in its arrangement it is 
declared finished, and is ready to be woven. 

Applying the design. Seventh step. The colors and 
threads are selected and the design is woven into the fabric. 

Let us suppose that, instead of making a design for weav- 
ing, it was desired to make a simple design to be embroidered 
on the ends of this runner. The designer would proceed in 
the same manner as has been diagramed in Fig. 160, from 

933 


Art in Every Day Life 


“A,” the structural design, through “C,” the breaking up of 
the space for the decoration. ‘The change in the design ap- 
pears at this point, and Figs. 161A and B parallel Figs. 160D 
and E. The same procedure as explained above would be 
followed for filling the spaces, determining the character 



















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- sSNA SDTSUE 


=a TASTEATT TL 





TURTON MURCUARICTRS 


eaerEn ern aL Saememam si nom aut 
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Fia. 161.—The process of making a simple design for embroidery is illustrated, 
in order to show that the same procedure is followed whether a design is to be 
simple or complicated. The aim is always to break up the spaces into interesting 
shapes. The layout in Fic. 160 C has been used as a foundation for this design. 
The procedure in Fic. 161 A parallels Fic. 160 D, while that in Fie. 161 B paral- 
lels Fic. 160 E. 


of the design, and beautifying the details. The only out- 
standing difference is that the design needs to be planned so 
that it can be embroidered rather than woven. 

Character or ‘‘ decorative quality”’ in design. If a design is 
to give the maximum amount of satisfaction it can not stop 
at being merely correct. It must have character and in- 
dividuality. When a design possesses a positive or dramatic 
character it is said to be “decorative,” or to have “‘decora- 
tive quality.”’ These terms, “decorative,” and “decorative 
quality,’ used in this sense, to denote character in a design, 

234 


How to Make a Design 





should be distinguished from ‘decorative design,’ which 
means any decoration added to structural design. ‘“‘ Decora- 
tive quality”’ is never found in a design which is “pretty” 
or sentimental, and it does not appear in naturalistic designs. 
Simplicity is an attribute of “decorative quality,” while 





Fic. 162.—A table runner printed in blue, pink, and green. The design and the 
color scheme of this runner lack decorative quality. The vine and birds are too 
true to life, and the design is unorganized. Compare this runner with Fria. 160 F. 
fussy elaboration is never associated with it. The two 
runners (Figs. 160F and 162) show the difference between a 
design which has “decorative quality”? and one which lacks 
it. The naturalistic design in Fig. 162 is weak because the 
worker lost sight of the fact that the decoration on useful 
objects should be a more or less abstract pattern rather 
than an attempt to copy nature. He was so concerned 
about making his theme recognizable that he imitated the 
bird and the plant forms as closely as he could. Meanwhile 
the more realistic his design became, the less appropriate it 
was for use. On the other hand, the conventionalized design 
in the Italian runner (Fig. 160F) has merit because the de- 
signer was striving for a beautiful pattern which would be 

235 


Art in Every Day Life 





adapted to its purpose. While he went to the same source 
for his design, he was not concerned about the ease with 
which his theme could be identified, for he recognized that 
if his work was to have beauty and character it must have 


“ 
oe ee Pere im’ Meats : _ 
BS oS 28 a PP, 
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im. 4 
Fic. 163.—(Cou 


ek 


ch & Co.) 

Jacobean Linen. There is “decorative quality” in this textile. _The shapes are 
imaginative, and there is character in the treatment of the pattern. Such motifs 
as these offer interesting suggestions for needlework designs. 


rtesy of Wm. A. Fren 


cleverly invented shapes, a fine distribution of lights and 
darks, and distinctive color. 

Now compare the conventionalized designs in the textiles 
in Figs. 163 and 164 with the naturalistic design in Fig. 224. 
The bird, ribbon, and flower design is weak and sentimental, 
while in the other patterns the forms are not only adapted to 
the idea of textiles, but they are so individual and so dra- 
matic that one remarks at once that these are “decorative.” 

236 


How to Make a Design 


It should be noted that it is as important in decoration to 
conventionalize the colors as the forms, and there is a loss in 
decorative effect when designs are worked out in naturalistic 
colors. 

Additional examples of designs which show the “decora- 





salto 


Fie. 164.—Embroidered wall hanging, India. (Courtesy of Marshall Field and 
Company.) 

This panel was embroidered by someone who had a feeling for the “decorative 
quality.” There is a play spirit in the entertaining design, and the invention in 
these birds and flowers pleases one much more than the accurate bird portraits 
in Fie. 224. 


tive quality’? may be seen in Figs. 39, 74, 76, 175, 222, 252, 
and 264. 

The artists who made the old Japanese color prints 
possessed this sense of the “‘decorative quality”’ to a striking 
degree. They conventionalized their forms and their colors, 
and thought of even their figure studies as patterns rather 
than as representations of individuals. Figs. 105 and 246 
are characteristic examples of their inventiveness and of 
their genius in the art of conventionalization. The decora- 
tive quality in these examples is very largely due to the 

237 


Art in Every Day Life 


striking arrangement of lights and darks and colors, and to > 
the dramatic use of lines. 

In preparing a list of the requirements for good designs in 
various fields, one would find that there are certain essential 
qualifications which apply to all the fields. In judging any 
design one should consider its suitability for its service, the 
orderliness of its arrangement, the individuality of its treat- 
ment, and the beauty of its pattern and color. 

Steps in designing a room. It must not be assumed that a 
design is made only when a new form is created. When 
furniture and the decorative and useful objects that go into 
the furnishing of a room have been placed, a design has been 
made. The main structural design is ready at hand for the 
designer: it is the size and shape of the room. This may be 
represented by Fig. 160A. Other structures,—rugs, furni- 
ture, and various other objects must then be placed within 
that form. The largest pieces are placed first, as in Figs. 
160B and C. Arranging the smaller objects, such as move- 
able chairs, and the larger pictures, would correspond to 
Fig. 160D. Figs. 160E and F, translated into terms of 
house furnishing, would be the arrangement of the books, | 
and the decorative details upon these larger forms already 
placed in D. The designer’s appreciation of art would be 
shown in the choice of every object and color, and in the 
manner in which the objects were grouped. 

Steps in designing a costume. In dress design, as in house 
furnishing, the structural design is given to the designer. 
He must use as his basic plan the human figure, aiming to 
make it as beautiful as possible. Upon this structure other 
structural designs are placed—hats, dresses, shoes—which, 
in their turn may receive the addition of some decorative 
design. The tests of orderly arrangement and beauty are 
applied. As in any design, there must be harmony. No 
unit should exist for itself, but there should be a fine rela- 
tionship throughout the parts of the entire costume. The 

238 





How to Make a Design 





more completely each detail is subordinated to the effect 
of the whole, the finer its quality becomes. 


eee 


F 1G. 165.—“ The Law of Margins” applied to the mounting of a vertical oblong, 
a horizontal oblong, and a square. The observance of this law will add interest 
to all layouts, written matter, and objects to be mounted. 





Fic. 166.—The “Law of Optics” was disregarded in the mounting of this picture, 
where all the margins are of equal width. Since mounted objects appear to be 
dropping in space, the use of a wider margin at the bottom than at the top seems 
to correct the unpleasantness resulting from the optical illusion. Compare these 
margins with those in Fie. 168. 


How to mount a picture: The Law of Margins. The design 
problem of planning margins enters into such everyday 
tasks as writing letters and invitations; printing display 

939 


Art in Every Day Life 


cards and posters; and planning the margins of a mat for 
a picture. One may start out with a card or a piece of paper 
of a certain size and shape, and arrange his composition 
within that shape; the size and shape of the mount become 





Fic. 167.—A vertical oblong badly mounted. The shape of this picture demands 
that the eye travel with its height, but the wide margins at the sides carry the eye 
across, and there is discomfort to the eye. (See Fic. 168.) 


the structural design, and the block of writing or decoration 
corresponds with decorative design, and is planned in the 
same manner as any other design. Or, on the other hand, 
one may be obliged to select a mount for a picture; which 
necessitates choosing a good structural design upon which to 
place the decorative design—the picture. 

The principles of design which one should observe in 
mounting pictures or written matter are,—shape harmony, 

240 


How to Make a Design 


balance, and proportion. These principles are embodied in 
what is commonly called “‘The Law of Margins,” which is as 
follows: In a vertical oblong the bottom margin should be 





Fic. 168.—A vertical oblong correctly mounted. Observe that the use of the 
widest margin at the base gives a sense of balance; that the next wider margin 
at the top enables the eye to carry along in the general movement of the picture 
without seeming to meet the top too suddenly; that the shape of the mount har- 
monizes with the shape of the picture; and that all these margins are in Greek 
proportions. 
the widest, the top next, and the sides narrowest; for the 
horizontal oblong the bottom should be the widest, the sides 
next, and the top narrowest; in a square the bottom should 
be the widest, and the sides and top equal to each other. 
(See Fig. 165.) All spaces should be in the Greek proportion. 


241 


Art in Every Day Life 





When the bottom margin is decided upon, each side that 
follows will be about two parts to three in relation to the 
previous space, or in the ratio of about 5:7:11. 

The Law of Optics. For one who understands the prin- 
ciples of art it will be clear that design explains this “Law of 





Fria. 169.—Incorrect margins for a horizontal oblong. When the top margin 
is wider than the side margins the eye is inclined to travel up and down the picture, 
whereas the shape of the picture demands that the eye travel across the width. 
Compare this with Fria. 170. 


Margins.” A comparison of Figs. 166 and 168, will show 
the reason for applying the principle of balance. The 
human eye is so constituted that all objects have a tendency 
to appear to. be dropping in space, and if they are placed 
exactly in the center of a space they give the uncomfortable 
impression of falling. On account of this “Law of Optics,” 
as it is called, it is agreeable in all mounted objects to have 
the widest space at the bottom. 
Harmony of movement and of shape are reasons for the 
difference in sizes between the tops and sides in the horizon- 
Q42 


How to Make a Design 


tal and vertical oblongs. A horizontal oblong will lead the 
eye cross-wise, rather than up and down. Therefore the 
most harmonious movement will be secured if the margins 
on each side are somewhat wider than that at the top. This 
may readily be seen by comparing Figs. 169 and 170. In 
the case of the vertical rectangle, it becomes more agreeable 





Fic. 170.—Correct margins for a horizontal oblong. When the side margins 
are wider than the top the eye is carried in a horizontal direction, emphasizing the 
shape of the picture. This makes for shape harmony. 


to have the top margin wider than the sides in order that the 
eye may be assisted rather than hindered in the upward and 
downward movement. (See Figs. 167 and 168.) In both 
cases the resulting shapes enhance and are harmonious with 
the oblong which is being mounted. A square looks best with 
its widest margin at the bottom; but the sides and top are 
most pleasing when alike, producing a rather close harmony 
of shape. (See Fig. 171.) 

Greek proportions are followed in determining the width 
of each margin, in order that there may be a subtle variety 
in the spaces; and again, for the sake of good proportion, the 

Q43 


Art in Every Day Life 


size of the entire mat should be in scale with the size of the 
picture or the object mounted. 

Since the mount is to serve as a background its color should 
be in harmony with the general color scheme of the picture. 





Fic. 171.—A square well mounted. The bottom margin, as always, is the widest, 
while top and sides are alike in order to harmonize with the regular shape of the 
square. 


LETTERING. Good lettering is a matter of good designing. 
The selection of an appropriate style of alphabet, and good 
arrangement and spacing depend solely upon one’s knowl- 
edge of design, while good letter construction is due to good 
design plus practice. In lettering it is far more important 
that the design be good than that the letters be faultless in 
construction. In fact, letters that are so mechanically cor- 
rect that they look like printer’s type lack the individuality 
that is so pleasing in lettering done by hand. 

The process of lettering is similar to that of making any 

244 


How to Make a Design 








other kind of design, and in lettering a poster, a place ecard, 
or a notice to post upon a bulletin board, the same method 
would be followed. ‘To illustrate the procedure in lettering 
for any purpose, we shall follow through each of the typical 
steps as they would be taken in printing the notice in Fig. 
We BE 

A. Estimate the size of the mass of lettering. The first 
thing to do is to write the material to be lettered, in order to 
gain a general idea of the amount of text. Make the writing 
approximately the same size as the printing will be. 

B. Select the alphabet. 'The second step is to select an 
alphabet which is in good taste, and suitable in style, size, 
and weight, to the idea which is to be expressed. A lighter 
alphabet should be chosen to write about such delicate things 
as laces and art objects than for hardware. (See Fig. 82.) 
The alphabet should be simple and easy to read. One may 
use all capitals, or capitals with lower-case letters. Capitals 
are less complicated than lower-case letters, and the beginner 
will do well to use them for all his work. An alphabet should 
be chosen in which the letters are well balanced, and in good 
proportion. Letters will appear in better balance if the 
division lines in H, E, B, and S are placed slightly above, 
rather than below the center. Since the degree of difference 
between the upper and lower divisions is a matter of good 
proportion, this difference will not be exaggerated, but will 
follow the Greek standard. (Fig. 173.) 

C. Choose the paper. The next step is to select the size, 
color, and texture of the card or sheet of paper on which the 
lettering will be placed. | 

D. Plan margins. Decide whether the rectangle is to be 
vertical or horizontal, and plan a well proportioned oblong, 
with the margins drawn according to the “‘ Law of Margins.” 
(See Fig. 165.) 

E. Lightly sketch in the letters. In order to obtain a good 
arrangement, the shape of the entire mass must harmonize 

Q45 


Art in Every Day Life 





*SULI9}}9] UI sdoaqs [votdA} INOY—SLT “OL 


x COC WOOd “i 
MIO1D.0 SNO LV 
AVG-OL LSSW TIA 
SSVTD YOINSS SHL 
4O Sa¥s0IsS0O SHL 


D 









St Oe BA BA Aas 
SSeS. Ses te i aed ETE i (| } 
tit Sa BY BOA DS Pa OS LS Aer LE it 


KID 5 SRS OS ene ad a, 
lee meee ee ET 


ASAT fA) |} HE 
FEO Stee 

















| 
| 


QQ] 4 CeNEAG (an 0 El Ga Fee i 





ee le ey NT Ee ei 


PAYA Gane esi Ee | 0a Fae BE 
En fied LA A et i BIEN ed Bn ee Ss ee 


Ne 7 ear Sy NS ee eI NS ee ee | 










SS Ghon eae: 
Sr aeGiNeG 












246 


How to Make a Design 


with the shape of the rectangle inside the margins. The 
first written paragraph should be studied, and so divided into 
lines that the lettering will be balanced on the page. Count 
the letters, in order to have the same number on both sides 
of the center line. The space between each word should 
be counted as a letter. Then, using a medium pencil, so 
that the work can easily be erased, sketch the letters, very 
lightly. This step is merely to place the letters, not to form 
them, for adjustments will be necessary later. 


ABCDEFGEISKEMN 
Oo si 

mem 2545675690 
ars ae ats 


Fic. 173.—A simple free-hand alphabet. 





















































Since lettering is designing, the space between letters, 
the spaces between words, and between the lines, becomes a 
problem of the fine adjustment of masses of dark against 
light, and of keeping as orderly and harmonious a shape as 
possible for the outside edges of the block of printing. Ifa 
line will not come out to the edge, it may be completed by a 
simple, consistent line or spot, such as a dash, or a few dots. 
If it is remembered that this device is used only in order to 
balance the page it will not be made too conspicuous. The 
spaces between letters should be so arranged that the word 
will seem a unit rather than a collection of separate letters. 
The way to do this is to adjust the background spaces so that 
there appears to be the same amount of background around 
each letter. Since some letters are wide and some narrow, 

Q47 


Art in Every Day Life 








some light and others heavy, the spaces between letters 


should not be alike. If the spaces are alike, the narrow 
letters, such as I and J, will appear crowded, while such 
letters as A, T, V, and W, which have a great deal more 
background space will seem too far apart. The spaces 
between words are usually the size of an ordinary letter, as 
the letter o. If words are much closer to one another than 
such a space, they are difficult to read. They may be some- 
what farther apart, but not too far or else the eye must jump 
from one word to the next and the effect of unity is lost. The 
space between the lines is usually a little more than half the 
height of the capital letter, but this 1s variable. The space 
between lines should be just wide enough to make it easy 
to read the text, but narrow enough to make the block of 
printing appear as a unit,—a well distributed pattern which 
makes an even gray tone against the background. This 
pattern may have the effect of a light gray if the letters are 
delicate in line and in form, or it may be a rather dark gray 
if formed of sturdy letters. But the spaces must be so well 
adjusted that the sheet looks balanced and of an even tone 
when it is held off at a distance or looked at through half- 
closed eyes. If it seems “spotty”? and shows irregular paths 
of light among the darks the page will lack rhythm. 

F. Guide lines. After the preliminary sketch has been 
made to show shape harmony in its general mass, balance in 
all its parts, and easy, rhythmic movement, rt may be trued. 
The first step in the finishing process is to draw guide lines. 
Measure the height of the lines of lettering, and the spaces 
between, and draw these lines very lightly, using a ruler. 
If they are faint enough they will not interfere with the 
legibility of the lettering, and may be leit if the work is to be 
finished in pencil. It is well for the beginner to draw either 
three or four guide lines for each row of letters. When four 
lines are drawn the base and the top lines indicate the height 
of the capital letters, and the tallest of the lower-case letters, 

248 





_— 


How to Make a Design 





b, d, f, h, k, and 1. The two inside guide lines mark points 
which are somewhat above, and somewhat below the center 
line, so that the proportions of the letters will follow the 
Greek standard. (See Fig. 174.) The upper of these inside 
lines—the one which is drawn slightly above the center of 
the space—will indicate the height of the upper division of 
the capital letter B; the cross bars of E, F, G, H; and it will 
locate the swing of the 5, and points for the strokes of K, 
W, X, ete. This line also marks the top of the lower-case 
letters, such as a, c, e, o, and n, and the body of the letters 
b, d, h, and k. The lower of these inner guide lines—the one 
which is slightly below the center—establishes the place for 


Fic. 174.—This suggests a method of drawing guide lines for lettering. The 
upper of the inside lines is drawn slightly above the center and the lower line the 
same distance below the center. The center line is indicated here by a dotted line 
merely for the purpose of comparison, so that the reader may see that the inside 
guide lines avoid mechanical divisions. They mark points which are more than 
one-half and somewhat less than two-thirds of the width of the entire space. 


the cross-bar of the A; the meeting point for K, M, and Y; 
and the point for the termination of the lobe of P and of R. 
(Fig. 173.) For the lower-case letters, this line is used to 
locate the cross-bar of e, and points on k, s, and x. The 
descending lines of the lower-case letters g, J, p, q, and y are 
somewhat shorter than the height of the stems of b and d, as 
they rise above the body of the letter. 

When three guide lines are used, the center line serves 
merely to assist the worker to judge spaces, and the divisions 
of the letters should be drawn slightly above or below that 
center line. It is important to remember that all divisions 
should appear to be on the same line above or below the 
center. 

G. Carefully draw letters and space letters and words. The 
last step in lettering is to give careful attention to the con- 
struction of the letters. (It is essential for the beginner to 

249 


Art in Every Day Life 


refer to the model alphabet constantly.) ‘The faint sketch 
will help to place the letters, so that the entire attention may 
be given to the proportions of the letters and to the final 
adjustment of spaces. It is important to see that the width 
of the letter is in good proportion to its height; that the cross 
lines divide the letters into well related spaces; that all the 
cross lines above the center follow the same line, and that 
those below the center are on a line, so that when the eye 
follows along the rows of letters it travels an easy, orderly 
path. All lines which are intended to be vertical and hor- 
izontal must be really so; and if the letters are to slant, they 
must all incline at the same angle. 

A simple alphabet is illustrated in Fig. 173. This type of 
alphabet is easy to learn, and it may be varied in many ways. 
The letters may be made taller or broader, and serifs may be 
added if desired. It is a useful model, suited to a great many 
purposes. 


250 


CHAPTER XII 
DRESS DESIGN 


I. STANDARDS FOR JUDGING A COSTUME 


The selection of a beautiful and becoming costume is a 
challenge to any woman’s art ability and her sense of fitness. 
She must have in mind constantly that her dress should be 
an expression of her personality, and that all the lines, colors, 
and textures in the costume should be chosen to that end. 
In order that a costume may give the same sort of satisfac- 
tion that a picture or any other form of art may give, it must 
be so planned that it fulfils certain esthetic requirements. 
And in addition to these zsthetic considerations, dress should 
measure up to the accepted standards for health, modesty, 
and economy. 

The esthetic requirements for dress are: 

(1) Beauty in color and design. This may be achieved 
by the application of the principles of design and color. 
(See paragraphs on dress design in chapters on the principles 
of design.) 

(2) The effect of simplicity as opposed to gaudiness. 
This results from an understanding of the Principles of 
Emphasis and Subordination. (Page 141.) 

(3) Suitability to the person and to use. Suitability 
to the individual and to use are applications of the Principle 
of Harmony. 

(4) Genuineness, as against imitation. Honesty and 
sincerity in dress are the outward expression of one’s ethical 
standards. 


Suitability to the individual. One must understand the 
relation of personality to clothes in order to appear well 
dressed. The person who is inclined to be a slavish follower 

251 


Art in Every Day Life 








of fashion should realize this important truth: There is no 
one style that is consistent for all types, but there are so 
many possible adaptations of a style that every woman 
should attempt to make the right selection for her person- 
ality. 

Factors in personality. In analyzing anyone’s personality 
such questions as the following are pertinent: Is she conserva- 
tive, or an extremist? Is she of the athletic type, suggesting 
a mannish style of dress; or is she exceedingly feminine, call- 
ing to mind dainty ruffles and soft materials? Is she dashing 
and forceful so that she can wear striking designs and colors 
and still be seen as a distinct personality beyond her clothes, 
or is she quiet and retiring? If she is very quiet she will be 
entirely eclipsed by clothes and designs that are too striking. 
The quiet person will need to select clothing that is not 
conspicuous, and she should wear some accent in color, or 
light or dark, in order to supply some of the sparkle which 
her personality lacks. 

Just as there are designs for every type, there are colors 
which are particularly suited to brunettes, and others which 
are excellent for blondes. Because clothes show so much of 
one’s individuality when they are worn, it is worth while 
putting enough thought into their selection to make them the 
best possible self-expression. A painter can not express 
harmony more perfectly on canvas than a woman can 
when she chooses a costume that is beautiful in all its parts, 
and which perfectly expresses her individuality. 

| When a costume appears suited to the wearer, the first Ja 
requirement for appropriate dress has been fulfilled. The 
, ‘second requirement is that all the garments which are worn 
at one time should appear to belong together. Frequently 
in an impulsive moment a woman buys an attractive, becom- 
ing hat. It may not look well with the other things that she 
has, but she does not think of that. Next, a handsome pair 
of shoes is purchased. They are not quite right for anything 

252 


Dress Design 





in the wardrobe, but they are “‘good looking.”’ A dress is 
selected on the same basis—it fits well, and is beautiful in 
color, but it does not look well with the hat or the shoes. 
Then comes an occasion when the short-sighted buyer needs 
to wear her new hat, shoes, and dress. She looks at the 
things that she has purchased and suddenly realizes that 
they cannot be worn together. When she sees her mistake 
she has learned the first principle of good buying (which is 
also the first principle in design), namely: things which are to V 
be used together must be harmonious. 

Planning a wardrobe. One does not need a large wardrobe, 
but something is needed which will be appropriate for 
different types of occasion. The number of costumes neces- 
sary depends upon one’s social and business position. The 
average woman has use for five kinds of dresses. The school 
girl and the woman who has few social demands need fewer 
than this, while some women need more. The different 
types of costume are: 

(1) The dress to be worn in the house. 

(2) The dress for the street or for business. 

(3) The dress for afternoon occasions. 

(4) The evening dress for formal wear. 

(5) The suit for sports wear. 

There are four factors which may make for difference among 
these costumes. The first is in the materials, the second, in 
the choice of color, the third, in the design selected, and the 
fourth in the trimming or decoration on the dress. For 
example, a lustreless silk dress, such as heavy crépe de chine 
might be made with ruffles on the skirt, short sleeves, and a 
fine lace yoke, and it would serve the purpose of an afternoon 
or a dinner dress. The same silk might be chosen in a 
conservative color and if made very simply with tailored 
cuffs and collar it would be suitable for business or street 
wear. The woman of taste will never be over dressed. If 
there is a question in her mind as to the proper choice for any 
253 


Art in Every Day Life 





given occasion, she will always choose the simple thing. She 
may wear her sports suit for the street and for school or busi- 
ness, but never her dinner dress or her afternoon dress. If 
she uses her sports suit for actual participation in strenuous 
games it may be slightly different in type from the suit she 
would choose if it were for milder games, for vacations in the 
country, for motoring, or for attending games. However, 
she can find one intermediate type that will be suitable for all 
these uses, and if she has such a costume, it will be useful in 
bad weather for business, and it will serve many other occa- 
sions. The house dress will be one which is easily laundered, 
simple, and fresh looking. The afternoon dress may also be 
the dinner dress, and it will do for many occasions, such as 
for church, the theatre, or an evening in the home. The 
street dress will serve many occasions if it is so planned that 
it may have different vests or collars of varying degrees of 
fineness. With a simple, smart street dress, and one other 
somewhat finer frock one can be appropriately dressed at any 
but very formal occasions. 

Health, modesty, and economy in dress. 'The three addi- 
tional essentials, health, modesty, and economy are quite as 
important in dress as the esthetic requirements. A person 
can not be truly well dressed if she is conscious of her clothes. 
It is always difficult to forget one’s dress if one has a feeling of 
inappropriateness or of discomfort. The physical discom- 
fort of wearing unhealthful clothing is as disturbing as the . 
consciousness that one is unsuitably dressed. Waists, 
skirts, sleeves, and shoes, which are tight, are unhealthful 
because they hinder the free movement of the body. Fur- 
thermore, since tight clothing interferes with graceful, 
rhythmic movement, it lacks beauty. 

It is recognized that a thing which is considered modest 
in one generation is condemned as immodest in another, but 
there are certain standards which are held by people of high 
ideals of any period. Painted faces, short tight skirts, and 

254 


Dress Design 


extremely thin and low cut waists are among the violations 
of ethics in dress. 

Problems which involve economy must be answered by the 
individual, for dress should be consistent with one’s means 
and regulated by the customs of the community in which the 
person lives. Every one should try to look as well as possi- 
ble, but it should be recognized that good taste and extrav- 
agance are not synonymous. The economy of a dress is very 
largely determined by the relation of its cost to the number 
of times it is worn with satisfaction. If the material wears 
out too soon or the dress quickly goes out of style or proves 
unbecoming, so that it is discarded before it has rendered the 
maximum amount of service, the dress is really expensive. 
The intelligent application of art principles will help to 
solve the problem of economical dress to the satisfaction of 
one’s desire for beauty and the need for economy. 

The economy of good structural design in dress. The study 
of several historic costumes with the idea of discovering 
what makes the clothes look queer and old-fashioned, will 
show one that this does not result from the decoration, but 
from the silhouette—the structural design. (See Fig. 175.) 
If one were to paint out every bit of the detail and keep only 
a black silhouette, a grotesque costume would still look 
queer. If several of these silhouettes are compared, one will 
find that in all the costumes where the structural design 
follows the lines of the body in a general way,—that is, 
where the silhouette does not go in suddenly at unexpected 
places or out unexpectedly at others, the clothes will look 
well even though they are much older than some of those 
which are now amusing. Thus it is seen that the silhouette 
or the structural design must be so planned that it is not 
extreme in any way, if it is to look well until it is worn out. 
Dresses should be neither extremely tight nor full, long nor 
short. It is said of some dressmakers that one can always 
count on their things looking well for at least three years. 

255 


Art in Every Day Life 





By studying the clothes made by these dressmakers one 
discovers that the effects are not due to genius—the same 
thing may be accomplished by anyone if conservative styles 
are chosen. It should be noted that a conservative style is 





gi 

Fic. 175.—(Adapted from Giaffert, “‘ L’ Histoire du Costume Feminin Francais,” 
Edition Nilsson, Paris., A. Gerbel, New York, distributor.) 

Costume of the year 1487. This dress is beautiful in its simplicity. There is 
unity in its structural design, and in a general way it follows the lines of the body. 
Its decorative design is appropriate in treatment, reserved in amount, and it is so 
placed that it enhances the beauty of the structural lines of the dress. It is only 
when fashions are far enough in the background that they are likely to be looked 
at impersonally and judged as any other work of art is judged. Historic costumes 
are the main source of inspiration for costume designers, and for that reason it is 
important that they should be judged solely according to their design merits. 


one in which all the extremes are avoided. Skirts should be 

of average length, so that when faddists are wearing theirs 

extremely short, conservatives are enjoying a modest length; 

when the next season brings a long skirt these sensible people 
256 


Dress Design 





may be wearing theirs a little shorter than the faddist, who 
had to discard all her short skirts, but the conservative dress 
still looks well. ‘The dress may be so planned that variety 
can be secured by a change of vest, collar, tie, or beads. The 
degree of conservatism which a dress should show may be 
somewhat influenced by the material of which it is made, and 
the occasion for which it is to be used. For example, a sum- 
mer dress of thin inexpensive material which will obviously 
last but a short time may reasonably be made up ina less. 
conservative style than a sturdy fabric, such as wool, which 
will be used for business or street wear. 

The person who dresses on a limited income should remem- 
ber that strictly seasonal fabrics are not economical. While 
most materials may be worn throughout the year, fur trim- 
mings, and a few fabrics, such as velvet and organdy, are 
suitable only for certain seasons, and if such materials are 
chosen the usefulness of a dress will be limited. 

If a girl or a woman wishes always to appear well dressed 
she will not plan her wardrobe entirely on the principles of 
what “they” are wearing, but will study her individual 
style, the lines of her figure, and her coloring, so that she may 
in a sense set her own fashion. No one wishes to look really 
“out of style.’ The most satisfactory plan is to avoid 
conspicuously “fashionable” clothes; and to select instead, 
conservative and beautiful lines and colors which reflect the 
- tendencies of the prevailing mode, and, at the same time, 
express the individual. 


257 


CHAPTER XIII 


DRESS DESIGN (Continued) 
Il HOW TO PLAN A DRESS 


In the hope that this discussion may be of some assistance 
in helping to plan a wardrobe which is economical as well as 
beautiful, some of the specific things which must be thought 
of are put into a list of considerations, even at the risk of 
repeating some of the points which have already been dis- 
cussed under the heading of dress design in each of the art 
principles. If buying is done without a plan the wardrobe is 
likely to contain too many things for one type of occasion 
and not enough for another. When a new hat, dress, or 
coat is desired a mental stock should be taken of the clothing 
one owns, so that the type of frock which will fit best into the 
wardrobe may be chosen. 

Selection of material. When selecting a dress one should 
consider the occasions for which it will be used, and the hat, 
coat, shoes, and gloves that would be worn with it. Since all 
the details of a costume should be related in idea as well as 
in texture and color, the dress material can not be well 
chosen without due regard to every item that has been men- 
tioned. | 

Texture. The materials which are being chosen for a dress 
should be suited to its use and to the type of its design. For 
example, stiff wiry fabrics adapt themselves to severe tailored 
effects, and should be worn with tailored hats and shoes. 
They do not drape well, while the soft fabrics which drape 
beautifully do not successfully fall into the straight lines of 
plaits. They are more successful when made with flowing 

258 


Dress Design 





lines, and worn with less severely tailored hats, coats, and 
shoes. ‘Textures which are most becoming to the individual 
should be chosen. The texture of the skin should be con- 
sidered when selecting a dress and its accessories. For 
example, pearls and very delicate silks are in harmony with 
a skin of fine texture,“and are so inharmonious with a rough 
skin that the face will seem harsh by contrast. A hard shiny 
surface would be very unbecoming to a stout person, since 
it would catch the lights and make the figure look larger; it 
would also be unbecoming to an older woman who is a bit 
tired looking. Its severity accentuates the angles of the 
face and figure, and emphasizes the lines in the face. It 
takes an average or a slender figure to wear hard surfaces 
successfully, and a fresh, or youthful face. On the other 
hand, soft and lustreless fabrics temper the harsh lines of the 
face, and will appear to reduce size if chosen in the proper 
colors. In combining different materials there should be a 
nice adjustment of textures. Those which are too much 
alike are monotonous, while those which are extremely 
different will appear incongruous. ‘Some textures which 
make interesting combinations are: wool fabrics with a 
surface which resembles serge, used with a crisp taffeta, or 
with satin; wool suits or dresses with vests of pongee, linen, 
or piqué; Georgette crépe used with fine wool, taffeta, or 
satin. These will suggest the types of texture which seem 
harmonious enough to be related, yet varied enough for 
interest. When textures are combined in a dress one usually 
serves as a trimming note, for enrichment. For that reason 
it is used in a smaller amount, and its texture should be as 
fine, or finer than the material of the dress. One does not 
want the trimming to look commoner than the dress. For 
example, a coarse cotton collar would not be used on a fine 
dress, though organdy or batiste would be good. There are 
no hard and fast rules for combining textures, and success 
depends very largely upon an understanding of harmony. | 
259 


Art in Every Day Life 











There are, however, some textures which anyone could 
combine with a reasonable amount of assurance, while others 
need such careful adjustment that only a person with 
unusual skill can obtain a good effect. This skill comes from 
experience and observation. 

Plain and figured materials. After the texture has been 
considered one should decide whether the dress should be 
made of plain or figured material, or if it should be a com- 
bination of the two. Every one can wear plain fabrics, but 
when a figured material is desired there are many factors 
which have to be considered before a wise choice can be 
made. Suppose the person who is selecting the dress has a 
normal figure, and has decided that she would like to have a 
surface pattern. She will review the five art principles in 
their various aspects, and see if the design of the material she is 
considering measures up to the art standards which it should. 

One very quickly tires of dresses with conspicuous figures 
in the pattern, so it is more economical and more desirable in 
every way to select designs in which the values are so similar, 
and the figures so close together that the effect is of a quiet, 
unobtrusive surface. In selecting figured material one should 
look for a pattern in which the shapes are harmonious. 
A large area covered with triangles and circles, or squares 
and circles, or similarly unrelated shapes, gives a sense of 
disorder which destroys harmony. For the sake of interest 
there may be a moderate amount of variation in the shapes 
of a surface pattern, but if there is too much variety it is not 
consistent for so large an area as is used in a whole dress. 
When figured materials are used the designs should be 
dignified, and in keeping with the idea of wearing apparel. 
Realistic treatments of birds, butterflies, flowers, and land- 
scape effects are among the designs found in dress materials 
which are not suitable for wear. Conventionalized or ge- 
ometric designs are appropriate for this use, and may be very 
interesting. (See Fig. 176.) 

260 


Dress Design 





If the material is figured, the pattern should show a 
beautiful proportion in the sizes of the details. For example, 
in choosing a striped material, one in which the stripes are of 
a different width from the spaces between is more interesting 
than one in which the spaces and stripes are alike. Plaids 
which have lines and spaces beautifully varied are agreeable, 

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Fic. 176.—A surface pattern which is suitable for dress material because the 
forms are conventionalized, the design is well distributed, and the colors are close 
in value. 


and when plaids are planned to show oblongs in their general 
effect they are apt to give more satisfaction than those 
which are designed in a series of squares. The scale of the 
pattern should be suited to the size of the person. One 
would associate small figures, dainty patterns, and exquisite 
things, with the small person; while the larger, more dashing 
individual suggests larger, bolder patterns. Of course, no 
one who has good taste in dress will use very large, con- 
spicuous patterns, but within the range of suitable designs 
this distinction in seale is very easily made. 
261 


Art in Every Day Life 





If the proportions of the person are not ideal the dominant 
lines of the pattern may be chosen to help bring the propor- 
tions more nearly to those of the average figure. The short 
person may choose designs which will carry the eye up and 
down the length of her figure, but the person who is large 
will not select materials with any outstanding pattern, be- 
cause they will make her look larger. 

While one always enjoys looking at dress materials which 
show no movement, it is sometimes desired to have a design 
either woven in or printed on the fabric. In such cases one 
should be sure that the lines in the pattern lead the eye 
easily and simply rather than jerkily over the whole fabric. 

The amount of emphasis in dress material varies with the 
size, and the personality of the individual, and the occasion 
for which the dress is planned. As a general rule the entire 
dress will be plain or subdued in pattern, while more em- 
phasis may be seen in the smaller amounts to be used as 
trimming. | 

Color in dress fabrics. The colors used in the costume 
~ should be becoming to the wearer. Values should be selected 
with great care, and all colors should be in the values which 
will bring out the wearer’s best points, and subdue those 
which may be undesirable. The choice of intensity in color 
will be influenced by the person’s coloring, age, size, per- 
sonality, income, and the occasion for which the dress is to 
be worn. The colors should be combined in such a way as to | 
beautify each other. The amount of bright color that is 
used in dress is an index of the taste of the wearer. This 
amount will vary with the person, as well as with the sur- 
roundings in which the dress is to be seen, and the number of 
times it must be worn. (See Chapter XVI.) 

Selection of a design for a dress. Having decided that the 
dress to be chosen is to be of a certain general type, as, for 
example, a straight line school dress, or a draped evening 
dress, and having also selected the materials with this style 

262 


Dress Design 


in mind, one is ready to choose a definite design. The art 
principles should be applied in the selection of the design, 
whether one intends to buy the dress ready-made, or have it 
made, or make it oneself. When starting a plan for a dress 


/ 


design the general lines are considered first, and the trimming “ 


later. These two steps are called the structural and the | 


decorative designs. Shape harmony is the most important 
consideration in planning any beautiful and economical 
structural design. When the dress is seen in silhouette it 
should bear some resemblance to the human figure, yet it 
should not follow the lines of the body too closely. (Com- 
pare Figs. 26, 27, and 28.) Variations from the lines of the 
figure should be more in the nature of transitional than of 
contradicting shapes, and they should come at logical points, 
as at the shoulders, hips, or bottom of the skirt. (Fig. 29.) 
The separate shapes which go to make up the structural 
design, such as the divisions of the skirt, and the waist with 
its sleeves, belt, collar, and similar divisions, should all have 
enough in common so that they appear at first glance to 
belong. to the same unit. The lines which form the edges of 
these shapes should be consistent with each other, and should 
show definitely that they are designed to beautify a human 
figure. The next consideration is to see that these lines and 
shapes bring out the best features of the individual for whom 
they are being selected. 

The size of every part of the structure of the dress should 
have a fine relationship to every other part. The length of 
the waist should be interesting in combination with the 
skirt; for example, one should avoid the position of a waist 
line which divides the dress into two equal parts, and should 
seek a more subtle proportion for this important structural 
division. All other subdivisions should be equally well 
spaced. If the dress is for a very large person the details 
‘would be on a larger scale than if it is for a small person, and 
if the material is of a coarse nature the scale of the parts, 

263 


Sf 


Art in Every Day Life 


such as tucks and cording would be larger than would be 
necessary for a very fine material. 

The costume as a whole should be studied in order to note 
the direction in which the eye travels in looking at it. For 
example, if it is desirable to add height only, it is well to 
see that a vertical movement predominates; and if there are 
a number of vertical lines, they should be neither so close 
together nor so far apart that the eye travels across the 
figure, thus increasing the width. (See Fig. 65.) 

Since the human figure is made up of curved lines, the 
most beautiful lines for a dress are usually those which show, 
some slight degree of curve. Every costume should show 
one dominant direction of line, and the other lines should 
not be equally important. 

Extreme cuts in the structure of the dress should be 
avoided because they seem to stamp the date upon a dress 
and make it go out of style quickly. They also make for 
lack of conservatism, and such clothing would not be econom- 
ical. The size and outline of the wearer’s figure, and her 
personality will determine the amount of emphasis which 
the individual should have in the lines of her dress. When 
plain materials are used one may use an emphatic line in the 
construction of the dress, but if the dress material is figured, 
the structural design should be simple. There is so much 
emphasis in a surface pattern that a style which is too 
varied in its lines will make the dress confusing. The guiding 
principle in planning the structural divisions of a dress is to 
work up to desirable points and away from undesirable ones. 
For example, if one’s hips are too large, one should avoid 
using any construction line that will emphasize the hip line. 
If the bust is large it should not be emphasized by placing a 
structural line across the bust or by pulling in the waist, but , 
the waist may be built out; and so on,—working always for 
a structural design which will make the figure look as nearly 
like the normal figure as possible. Where it is not possible 

264 


Dress Design 





to disguise an objectionable feature sufficiently, call attention 
to some other point by placing a note of emphasis there. 

The figure should appear to be balanced when the person 
is standing, sitting, or walking and the structural design of 
the dress is of great importance in securing this effect. The 
figure should balance on both sides of the center line as well 
as above and below the center. (Fig. 97.) 

The structural design of a dress, then, must be made up of 
shapes and sizes which are beautiful in themselves, and in 
relation to the human figure; if it is to bring out the best 
qualities of the person for whom it is designed, it will have 
its dominating lines so skillfully placed that they will subor- 
dinate the unattractive features and emphasize the good. 

Decorative design in dress.. If a dress is to be beautiful it is 
essential that the structure of the dress itself be beautiful. 
If it is a really good structural design it may need no trim- 
ming at all. If a plain dress is not desired, then a simple 
decoration should be planned which will make the dress 
richer, but will not be so conspicuous that one will overlook 
the beauty of the lines and material of the dress. Frequently 
one becomes so interested in planning decoration that all 
restraint is lost, and when the dress is worn the trimming is 
so prominent that it overshadows even the wearer. The 
personal appearance will determine the best position for the 
decorative design. If the person is attractive, and has a 
normal figure, any place that seems to be consistent for 
decoration may be selected for the principal and subordinate 
centers of interest. 

Beautiful decorative effects in dress may be secured 
through the use of well planned tucking, cording, or bands 
of the same material as the dress. This “‘self-trimming,” as 
it is sometimes called, is always good, and if economy is 
a consideration it has the advantage of being inexpensive. 
Simplicity and dignity are secured in this way; they can never 
be gained by the use of cheap lace and trimmings. Similarly, 

265 


Art in Every Day Life 


a few decorative embroidery stitches, or a simple bead 
design, may add much to the attractiveness of a dress and 
yet add very little to its cost. The methods and materials 
for decoration matter far less than the fact that fine quality, - 
simplicity, and unpretentiousness are desired. 

After having decided how, where, and how much to 
emphasize, the shape of the decorative units must be chosen. 
The shape of the design should appear to grow out of the 
structural design, and not look as it had merely dropped 
there, or had been grafted on from some foreign source. In 
order that the design may be dignified enough for the dress 
it should be so far removed from a naturalistic idea that it 
will simply resolve itself into a group of beautifully related 
shapes and sizes. There may, perhaps, be a reminiscence of a 
flower idea, but it is well that one should have to search for 
the original source. The purpose of the dress and the 
materials of which it is made will influence the choice of 
materials for the trimming. If, for example, it is decided to 
have a beaded design, the vast difference between the 
textures of wooden and pearl beads must be considered. 
Without regard to size or color, the pearl beads would be 
suited only to fine. materials and to evening gowns, but 
wooden beads are suited to many occasions, and are par- 
ticularly good for simple dresses. 

After having decided how much design should be used, 
one must plan the relationship of all the parts within the 
design itself, in order that beauty and interest may result. 
The design and the stitches should be in scale with the 
material used. Heavy materials suggest a free, bold treat- | 
ment, and delicate designs suggest a correspondingly finer 
texture. Care should be taken that threads and stitches | 
are not so fine that the result looks too thin and weak for | 
anything so large as a dress. Large women should avoid. 
very delicate designs, which by contrast, would emphasize 
their size. The position of the decorative designs on the 

266 


Dress Design 


dress should help to preserve the balance of the whole 
costume. With a view to making the design of the dress as a 
whole appear unified, rather than spotted or confusing, the 
decoration should be so planned that the eye will be carried 
to the different parts of the dress in the order in which it is 
desirable to emphasize them. 

An attempt should be made to secure something distinc- 
tive in a dress, to lift it out of the commonplace, and make 
it individual. Distinction may result from the cut of the , 
dress, or from a decorative note, such as an interesting collar - 
or vest, a smart girdle, or unusual and attractive cuffs. The 
distinctive note should serve the purpose of making the dress 
smart, and should make it seem definitely to belong to the 
owner. 


267 


CHAPTER XIV 
DRESS DESIGN (Continued) 


Il. ADJUNCTS OF DRESS 


A costume can only give complete satisfaction when all 
its adjuncts appear to belong together. A sense of fitness is 
nowhere more apparent than in the choice of one’s coiffure, 
and of the accessories which are worn with a dress. 

Hats. How many women really know how to select a hat? 
Each season brings so many changes,—the crowns are 
higher or lower than on last year’s hats, the brims are wider 
or narrower, and turned up or turned down, so that it is 
difficult to know what to select, unless experience has said 
that there are certain lines and some sizes that always seem 
to be particularly becoming. ‘There are some principles that 
a woman can learn if she has not already discovered them for 
herself, which will serve as a guide in making a choice of 
hats. A reproduction of a newspaper advertisement show- 
ing some of the wrong hats for the different types of women 
is shown in Fig. 177. One can draw many conclusions from | 
a study of this picture, and in observing what not to do, it 
will help to find out what to do. It will be seen that the 
following facts are generally true: The crown of the hat 
should be as wide as the face. Large faces are best in hats 
that do not fit too closely, but give an-adequate frame or 
setting for the face. Lines which suggest circles, or parts of 
circles, in the shape of the hat or in its trimming, make the 
face look more round. If a dominant line of the face is | 
repeated either in the hat or in its trimming, that line will be 

268 





Dress Design 








emphasized; therefore, drooping lines, extremely long lines, 
or any outstanding feature, such as a long or badly formed 





Fic. 177.—(Courtesy of Stronge, Warner & Co., ‘“Unbecoming Hats of 1894.’) 

This illustrates forcefully that lines and shapes are accentuated by the use of 
lines which repeat them, and by lines which contradict them. In every case here 
the use of transitional lines,—that is, those which come halfway between repetition 
and contradiction,—would have modified the peculiarities of these women. 


nose or chin, should not have a repetition of that particular 

kind of line in the hat. When these lines are conspicuously 

contradicted the undesirable line will be emphasized just as 
269 


Art in Every Day Life 





much as if they are repeated, and the best way to remedy the” 
defect is to use lines just between the two extremes. People 
who wear glasses have the same problem as those whose 
features are over-prominent. They, too, need a brim on a 
hat, and some of the trimming placed at the front of the 
hat, for that seems to throw the features back. Faces with 
stern or hard features do not look well in turned up brims. 
These faces, too, need the softening influence that is obtained 
from the shadow of a brim. Faces that are too broad should 
not have trimming placed sidewise, but there should be a 
suggestion of height not so extreme that it will make a 
striking contrast, but with lines which tend that way. 
Similarly, the very long narrow face should avoid the flat 
hat, and the extremely high hats. Round faces look well in 
hats with the brim turned up slightly at one side, so that a 
varied line is given. Small faces do not look well in hats 
that are too large because they make the face appear smaller 
than it really is. Oval faces with normal features look well 
in irregular curves, not extreme, but graceful in line. In 
fact, the person with an oval face and regular features can 
wear almost any beautiful shape. Deciding upon the lines 
of the hat is only one step in the selection. Another is to see 
that the well chosen hat is well placed upon the head. These 
drawings show that when the hat sits too high on the head 
it looks strange because it is seen by itself and not as a frame 
for the face. It is just as bad when the crown is too large, 
for then it gives the impression that if the ears did not stop 
it, the hat would settle down over the eyes. The crown 
should appear to be securely placed upon the head, and then 
the lines of the brim may vary as it seems best for the lines 
of the face and the figure. Turbans or other closely fitted 
hats are worn most successfully by the person whose features 
are regular, and whose face is the right size for her figure. 
If there is any feature that is irregular or too prominent, 
such as high cheek bones, prominent eyes or nose, or very 
270 


Dress Design 


high color, the turban should be avoided, and more or less 
of a brim should be chosen. 

The arrangement of the hair. The size of the coiffure and 
the lines of its arrangement modify the lines of the face in 
very much the same way that the hat does. The coiffure 
must be the right size for the figure if it is to be beautiful. 
The size of the head is the unit by which the eye measures 
the proportions of the figure, and for that reason it is impor- 
tant that the hair be so dressed as to suggest the most 
flattering proportions for the entire body. The normal 
figure measures seven and one-half heads high, and when an 
artist desires to express unusual refinement in a drawing he 
makes the head smaller than the normal unit, and constructs 
a figure which measures eight heads high. Fashion illustra- 
tors sometimes exaggerate this impression of refinement by 
drawing figures measuring nine, ten, eleven, and even four- 
teen heads high. On the other hand, cartoonists who wish 
to show the opposite of grace and refinement secure that 
effect by making the head lengths go into the body about 
four and one-half or five times. Therefore, it will be seen 
that a style of hair dressing that conforms rather closely to 
the size of the head will lend grace to the body, while hair 
that is dressed to make the head look large will make the 
figure look heavy and clumsy. 

One should watch the pattern that the lines of the hair 
create. It is desirable to secure a beautiful line in the con- 
tour of the coiffure, and a graceful pattern against the face 
made by the arrangement of the hair. A person who has 
regular features, and a face of average proportions, may 
wear any beautiful coiffure that is in scale with her figure. 
If, on the other hand there are lines or proportions that 
should be modified one needs to have a working knowledge 
of the Principles of Harmony and Proportion. It must be 
remembered that the shape and the lines of the face are 
emphasized when they are repeated, and when contradicted; 

Q71 


Art in Every Day Life 


and that they are modified by the use of transitional lines. 
It must also be remembered that lines may be so used that 
they will appear to alter proportions. 

One’s hair should be dressed in a style that seems suited 
to one’s personality. A style that would be becoming, if 
only the lines of the face are considered, might be entirely 
unsuited to the type of person. A style which would be 
smart and attractive on a pretty, sparkling, slender girl 
might be ridiculous on an older, stouter, or more conserva- 
tive person. 

Later in the book suggestions are given for modifying the 
effect of undesirable features and proportions through the 
lines of the coiffure. It is easy to recognize the design 
reasons for the suggestions, and when they are understood 
the reader will be able to modify other physical short- 
comings that are not included in this list. 

Shoes. Shoes may mar an otherwise successful costume if 
they are not well chosen, and too frequently they do not give 
a sense of being suited to the occasion. Shoes which are 
intended for street wear should not only be comfortable, 
but they should look comfortable. Shoes with high French 
heels and long pointed toes look out of place with street 
clathes, and they are not made for exercise. Such shoes are 
planned for evening wear and are not in good taste for busi- 
ness or for school. 

Hosiery. The hosiery is as important a note in costumes 
as the shoes, and perhaps the most outstanding single prin- 
ciple that should be followed in the selection of shoes and 
hosiery is to keep them inconspicuous, and a unit with the 
dress. This means that the values should be similar to each 
other, and about the same as the dress, or darker than the 
dress, in order to make a good base for the figure, and to 
avoid creating a center of interest at the feet instead of at the 
face. 

SumMaRyY. The well dressed woman may be said to wear 

HR 


Dress Design 


inconspicuous clothing; her dress and hat are simple in 
design, yet they have an individual note that expresses her 
personality and distinguishes her costume from all those 
around it; her shoes, hose, gloves, hand bag, and jewelry are 
fitting accessories, and while not calling attention to them- 
selves, they serve to make the wearer and the costume a 
perfect unit. 


273 


CHAPTER XV 


DRESS DESIGN (Continued) 


IV. A TABLE OF SUGGESTIONS FOR PERSONS WHO HAVE 
UNUSUAL PROBLEMS IN DRESS 


Tue Stout FIGURE 


Becoming 


One material or color, used through- 
out the costume, rather than break- 
ing it up into separate parts. 

Soft, yet not clinging, fabrics. 
Fabrics with dull surfaces. 


Dull colors in large areas. 

Black, or very dark colors if the 
silhouette is good. If the outline 
of the figure is poor, use fairly 
dark colors to reduce size, but not 
so dark that they will call atten- 
tion to the silhouette. 


if the 


An unbroken silhouette, 
figure is normal. 


Loose lines, semi-fitted, rather than 
tight effects. 

Transitional lines in the dress rather 
than extreme curves or angles. 
Vertical movement in the lines of 
the dress. 

The emphasis on the dress up and 
down the center front, with the 
principal accent at the throat, and 
a subordinate one at the bottom of 
the skirt. 


Unbecoming 


Lustrous fabrics. 

Taffetas, and other stiff fabrics. 
Plaids, or any outstanding surface 
pattern. 


Bright colors in large areas. 


Unnecessarily full, long garments. 
Too tight corsets and brassieres. 


Full drapery. 

Tight drapery. 

Ruffles. 

Horizontal movement in the lines 
of the dress. 


Q7A 


Becoming 


The curve of a surplice waist is an 
excellent line for a stout figure, pro- 
vided the curve is not carried too 
far out toward the hips. Carried 
too far it will broaden the waist and 
hips. 


Panels of average width. 

Pleats, panels, etc., that start 
above or below a point where the 
figure is large. 


Comparatively long skirts. 


A normal waist line, or slightly 
above or below it. 


Set-in sleeves. 

Normal point for the end of the 
shoulder seam, or a trifle shorter 
seam, 


-Kimono | sleeves 


Dress Design 


Unbecoming 


Exaggerated curves or angles, for 
the curves repeat the lines of the 
figure and the angles contradict 
them, therefore both call attention 
to the size. 


Very wide, or extremely narrow, 
panels. 

Panels or overskirts that spread or 
flutter as one walks. 

Pleats, panels, or any trimming 
ending or starting at a point where 
the figure is large. 


Thin pipings. © 
Fluffy fichus. 


Large circles on hats or dresses. 


Short skirts. 

Very long skirts. 
Flaring skirts. 

Deep yokes on skirts. 


A high waist line, since it makes the 
waist appear broader. 

An extremely long waist line, for it 
makes the upper part of the figure 
too heavy. for the lower part. 

Belts or sashes which are con- 
spicuous in width or in color. 


Tight sleeves. 

Flowing sleeves. 

Transparent sleeves. 

Sleeves lighter than the dress. 
which give an 
effect of breadth, owing to looseness 
under the arm. 

Tassels or streamers on sleeves. 
Sleeves ending at a place of unusual 
width on the figure. 


Q75, 


Art in Every Day Life 


Becoming 


Simple neck lines, preferably long 
lines. 


Flat, short-haired furs. 
Dark furs. 


Hats of moderate size. 

Hats that suggest an upward move- 
ment. 

Hats with irregular lines in the 
brim, and a rather high crown. 
Hats with transitional lines rather 
than extreme curves or angles. 


Hair dressed high. 

Hair well groomed. It may have a 
slight’ wave with rather large 
undulations. 


Unbecoming 


Wide, light cuffs on a dark dress, 
for the eye will travel across the 
figure, adding width. 


Tight collars. 


Freakish or conspicuous shoes. 
Shoes with slender, high heels. 


Small hats. 
Big hats. 
Flat hats. 
Round hats. 


A low or broad style in hair dress- 
ing. 
Tightly curled, or “bushy” hair. 


Thin, or very small pieces of jewelry. 
Tiny trimmings for hats and dresses. 
Very small accessories. 


Tue Tuin FIGURE 


Lustrous materials. 
Materials which stand out some 
what from the figure. 


The silhouette of the dress showing 
a broken, rather than a long cling- 
ing line. 

Broken lines, and curved lines. 
Loose clothing. 

A horizontal movement in the lines 
of the dress. 

Fluffy laces on the waist, and soft 
fichus. 


Severely straight lines. 
Angles in the lines of the dress. 


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Dress Design 





Becoming 


The soft, full lines of drapery. 


Wide girdles and sashes (for the tall 
person). | 


Kimono sleeves. 


Light furs, if becoming to the 
complexion. - 

Long haired furs. If the person is 
small, the scarf must not be too 
large. 


Hats with low crowns. 
Hats with drooping brims. 
Hats of average size. 
Hats with irregular lines. 


Unbecoming 


Long, narrow skirts. 


Flat tight waists. 


Sleeves so short that the bones of 
the arms are conspicuous. 

The type of line seen in a raglan 
sleeve, for it gives a flat chested 
appearance. 


High hats. 

Angles in the lines of the hat. 
Such stiff severe trimmings as wings 
or quills standing out from the 
crown of the hat. 


A high coiffure. 


NARROW SHOULDERS 


‘ Sufficiently long shoulder seams. 


- Broad lines in yokes and collars. 


A panel or vest effect which starts 
wide at the waist or hips and be- 
comes narrower toward the neck. 
This makes a triangle with the 
point at the neck and the base at 
the waist and hips, thus narrowing 
the shoulders and broadening the 
waists and hips. 


“QT7 


Art in Every Day Life 





BROAD SHOULDERS 


Becoming 


Lengthwise pleats, folds, or tucks, 
extending from the shoulders to the 
waist. 


Hat with a relatively high crown 
and a fairly wide brim. 


Unbecoming 


Broad lines in yokes and collars. 


Very small hats. 


RounpbD SHOULDERS 


Set-in sleeves. 
The shoulder seam placed about 
one-half inch back of the normal 
shoulder line. 


Collars which will appear to 
straighten the curve of the back. 
Either have the collar long enough 
to hang loose from the neck to be- 
low the highest point of the curve, 
or have it short enough to fill in the 
space between the neck and the 
beginning of the curve. Then 
build out the waist line by having 
the waist full and loose in order to 
fill in below the prominent curve. 
This may be done by the use of a 
panel which hangs from the neck 
to the waist, turning back under a 
loose belt. 


Kimono sleeves. 


Collars which end at the curve of 
the back. 

Collarless dresses which are tight 
at the waist line. 


LarGe Bust 


Panels or vests. 


To build out at waist and hips. 


To draw in the waist line. 


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Dress Design 





Becoming 


A yoke line, jewelry, or some other 
conspicuous line which stops above 
or below the waist line. 


FLAT 


Full, soft collars. 
Jabots and fichus. 


Fullness over the chest by means of 
tucking or shirring the material 
into the shoulder seam. 


LARGE 


Emphasis up and down the center 
front of the dress. 


Average amount of fullness in the 
skirt. 


A slight blouse at the waist line. 


Unbecoming 


Trimming at, or near, the bust line. 


Wide girdles. 


CHEST 


Tight waists. 


Hips 


A one piece, beltless dress hanging 
straight from the shoulders. 


Pockets at the hip line. 
Horizontal lines in the skirt placed 
near the hip line. 


Tight skirts. 

Very full skirts. 

Skirts that are narrowest at the 
hem. 


Tight, closely fitted waist. 


LARGE WAIST AND Hips 


To build out at the shoulders. 


The center of interest kept at the 
face and away from the waist and 
hips. 


Long skirts, in order to add height. 


Hats of average size or slightly 
larger. 


Broad panel effects. 


Sashes or wide girdles. 


Small hats. 


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Art in Every Day Life 


Lone Waist, SLENDER FIGURE 
Becoming Unbecoming 


The effect of a slight blouse at the Surplice waist. 
boundary of the figure between the Tight bodice. 
under arm and the waist line. 


Long lines in the skirt. 
SHort Waist 


To drop the waist line below the 
normal line. 


Lona NEcK 


Rolling collars. Flat collars. 
Round neck lines. V-necks. 
Fluffy collars or fichus. 


Hat with upturned brim. 
Hat with high trimming. 


Hair worn low at the neck. Hair worn high. 
Hair worn over the ears. 


SHort NECK 


Flat collars. Rolling collars. 

Collarless dresses. Broad neck lines. 

V-necks. Strings of beads worn close around 
the neck. 

Flat furs. 

Narrow brimmed hats. Drooping hats. 
Hats with broad brims. 


Hair dressed high. 
Hair worn to show the ears, or at 
least the base of the ears. 

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Dress Design 


LARGE Face 


Becoming 


Rather large hats. 


A coiffure of moderate size. 


SMALL 


Hats which are rather small. 
Trimmings which are rather fine in 
texture and in scale. 


A relatively small coiffure. 


Unbecoming 


Small hats. 
Trimmings that are too small. 


Too large a coiffure, for it may 
make the head too heavy for the 
body. 

Too small a coiffure, for it will 
emphasize the size of the face. 


FAcrk 


Large hats. 
Heavy hats. 


Too large a coiffure, for, by con- 
trast, it will make the face seem too 
small. 


SQUARE Face! 


Hat with an irregular line. 


Hair dressed rather high, and with 
a soft, irregular line. 


Lines in the hat which repeat the 
lines of the face. 

Lines which oppose the lines of the 
face. 


Hair dressed wide over the ears. 
Hair parted in the middle. 


Rounp Face! 


Hats with slightly irregular lines. 
Hats with lines which carry the eye 
upward. 


Hair worn in an irregular line. 
Ears covered unless neck is short. 


Hats with round shapes and lines 
which repeat the curves of the face. 


Hair parted in the center and drawn 
tightly back. 


1 For becoming necklines see page 40, and Fia. 30. 


281 


Art in Every Day Life 
Becoming 


In that case leave the lower part 
of the ear exposed. 

Hair parted toward the side and 
arranged in an irregular line. 


Hair dressed high. 


Unbecoming 


Hair dressed wide over the ears. 
Hair dressed in rounded shapes 
and lines. 


Narrow Porntep Face! 


Hat with medium sized brim. 
Hat with slightly drooping brim. 
Soft crown on the hat. 


Hair worn low on the forehead, and 
in soft irregular lines. 

Moderate size in hair dress. 

Hair worn back from the cheeks. 


High hats. 
Tall, angular trimmings. 


Hair worn in a high, pointed knot 
at the top of the head. 

Hair so dressed as to cover some of 
the cheeks. 


Retroussge Nose 


A hat with a brim. 


Lines of the hair that do not repeat 
the line of the nose. 


A hat that turns away from the 
face. 


PROMINENT NOSE 


Hat with a brim. The brim may be 
somewhat wider in the front. 
Trimming in the front of the hat. 


Hair built out in a soft, rather large 
mass. 

Hair built out over the forehead, in 
order to balance the nose. 

Hair parted on the side. 


Turbans. 
Severe, tailored hat. 


Hair parted in the middle. 

Hair drawn straight back from the 
forehead. 

Hair dressed high on the head. 
The large mass of the hair directly 
opposite the nose, so that the eye 
moves across that line when the 
profile is seen. 


1 For becoming necklines see page 40, and Fig. 30. 


282 : 


Dress Design 








PROMINENT CHIN AND JAW 


Becoming Unbecoming 
Rather large hats. Small hats. 
Hats with soft, irregular lines. Severe tailored hats. 


Hair worn in a large mass at the Hair bulged out below the ears. 
top of the head and wide at the 
sides, above the ears. 


RECEDING CHIN AND SMALL JAW 


Hats of average size. Large hats. 

A hat with a brim. Hats that turn sharply away from 
the face. 

Small coiffure. Hair wide at the top and at the 

Hair worn low at the neck. sides. 


PROMINENT FOREHEAD 


Hat with a brim. 
Hat worn low on the head. 


Hair dressed low over the forehead Hair pulled straight back from the 


to conceal some of it. forehead. 
A broken irregular line. Hair dressed wide over the ears and 
temples. 


Low ForREHEAD 


Hair drawn back from the forehead. 
Hair dressed rather high. 
Hair parted in the middle. 


SHARP ANGULAR FEATURES 


Hats of medium size. Severely tailored hats. 
Irregular lines in the hat. Sharp, angular trimmings, as wings, 
A brim which droops very slightly. quills, and sharp bows. 

283 


Art in Every Day Life 


Becoming Unbecoming 


Hair worn in a soft, irregular line. Hair drawn severely back. 
Soft, large waves in the hair. Hair elaborately curled, because it 
emphasizes harshness by contrast. 


LARGE FEATURES 


Small hats. 


Hair worn in a broken line around Hair curled in small, close waves. 
the face. Hair drawn tightly back. 

Hair worn smooth or in large loose Coiffure extremely large. 

waves. 

Coiffure rather large. 


GLASSES 


Hat with a brim. Hat turned sharply away from the 
face. 


Hair worn in a soft irregular line Hair drawn severely back from the 
over the forehead. forehead. 


284 


CHAPTER XVI 


DRESS DESIGN (Continued) 
V. COLOR IN DRESS 


The essentials for fine color in dress are that the color 
scheme of the dress be beautiful as a unit and suited to its 
purpose, and that it be becoming to the person who is to wear 
it. In order to satisfy the first requirement, the colors for a 
costume must be selected and arranged in such a way that 
the principles of design are exemplified. 

Color balance in dress. The “Law of Areas,’ which states 
that the larger the area the duller a color should be, applies 
very definitely to dress for street and business wear, but it is 
sometimes modified when one is selecting a costume for the 
stage, an evening gown, or sports clothes. In these cireum- 
stances it is quite suitable that the costume be bright in 
color if the wearer is rather small, so that there is a relatively 
small amount of brilliant color, and if she has a striking 
enough personality to avoid being eclipsed by her gown. 

Colors in a gown must be so distributed that they will 
balance. When a woman wears a white waist with a dark 
skirt the skirt appears to overbalance the waist; however, 
if some of the value (not necessarily the same hue) of the 
skirt were repeated on the waist in a tie or a string of beads, 
the balance would be somewhat better; and it would be still 
better if a jacket or jumper were worn, which would bring a 
larger amount of the value of the skirt into the waist. 

Rhythmic color in dress. One obtains rhythmic effects in 
color for dress in two ways. First, by the repetition of a 
color. This process is so closely akin to balancing through 
crossing or repetition that one cannot differentiate between 

285 


Art in Every Day Life 


the two. Care should be taken to distribute these con- 
trasts in value and hue so rhythmically that there is no 
tendency toward spottiness. The second way to secure 
rhythmic color is by the use of a transitional hue, value, or 
intensity to modify the harsh jump between two different 
hues, between very light and dark colors, or between dull 
and very bright colors. For example, a dark blue georgette 
dress with a white yoke and bright red-purple trimming 
might be made to show rhythmic gradations of color by the 
following method: the use of a white net collar coming over 
the blue would make a transitional value between the white 
yoke and the waist. The red-purple could be used in a band, 
and veiled by the blue georgette. It might show its actual 
color in a small amount at the front of the waist. The veiling 
of the red-purple by the blue gives a rhythmic gradation 
between the hues of the two colors, and assists in the com- 
pletion of a unified effect. 

Interesting proportions for color use. If the colors that are 
to be combined in a costume are quite dull, the Greek propor- 
tion of two parts to three will prove to be an interesting dis- 
tribution. If, however, they are bright, or contrasting in 
value, it will require but a very small amount of one to 
produce this effect of two to three parts of attraction. 

Emphasis in color for dress. In dress design the individual 
should be the center of interest, and the costume a back- 
ground. The amount of emphatic color that can be used 
successfully varies, therefore, with the individual. 

Harmonious color in dress design. Harmony in color 
depends very largely upon the application of all the other 
design principles, for as soon as any one of the principles is 
violated the unity of the whole costume is destroyed. In 
order that costumes may be harmonious their colors should 
be balanced or keyed, and the entire color scheme should be 
related to the coloring of the individual. 

Cotor For INpivipuAL Typrs. The aim in choosing 

286 


Dress Design 


colors for individual types is to select those which will bring 
out the person’s best points and subdue the undesirable 
ones. Some of the factors influencing the choice of colors 
are: 

(1) Light effects. 

(2) Texture. 

(3) The age of the person. 

(4) The size of the person. 

(5) The personality. 

(6) The complexion. 

Tight effects. As daylight is very much more brilliant and 
trying to the complexion than artificial light, colors need to 
be chosen more carefully for daytime wear. Colors selected 
for evening wear should be seen by artificial light; yellowish 
lights, for example, will neutralize or destroy their comple- 
ments, the purplish colors, and will put more yellow into 
their neighboring colors; the greens will look more yellow- 
green, the blues will look greenish, and the orange and red 
hues will look more yellowish. 

Texture. The way a cloth is woven has such an important 
effect upon color that it must be recognized for successful 
color choices. A certain hue in a soft texture, such as pile 
velvet, fur, crépe de chine, georgette, or tulle is easier to 
wear than the same hue in the brilliant hardness of satin or 
panne velvet. Similarly, white organdy or georgette worn 
near the face is becoming, while white satin, because of its 
sharp lights is exceedingly trying. The bright reflections of 
satin accentuate every curve of the figure, and therefore 
appear to add to its size; for that reason it should be avoided 
by stout women. Thin women should avoid textures like 
very soft crépe de chine which fall in long straight folds, thus 
making them look thinner. They should choose soft taffetas 
and similar fabrics which break into lines taking several 
directions and appear to increase their size. 

As much interest may be gained in dress through con- 

287 


Art in Every Day Life 





trasts in texture as through color contrasts; for example, 
serge, poplin, or broadcloth may well be combined with 
satin, and crepe de chine or georgette with panne velvet or 
satin. Textures which are very similar, but not alike, such 
as crépe de chine and Canton crépe, are not interesting 
together. 

Age of the person. Older women should not wear bright 
colors in large areas. Since bright colors have a tendency to 
harden an older woman’s face small amounts of these colors 
should be selected to use as trimmings. 

Size of the person. Cool colors seem to recede and warm 
colors to come toward one. The brighter the color the more 
quickly it advances. All bright colors are conspicuous, and 
appear to increase size; therefore large women should avoid 
them in dress, especially those which are both warm and 
bright. If a large woman’s complexion requires warmth in 
color, she should choose the very dull warm hues. A woman 
who is stout and of good figure should choose values which 
will give the appearance of reducing her size. If the sil- 
houette is poor she should choose values which will not call 
attention to the outline of her figure. Stout women should 
avoid strong value contrasts or color contrasts in the design 
of their dress materials, and they should not wear light waists 
with dark skirts, because the contrasting values seem to cut 
the figure in two. 

Personality. People who are inclined to be rather colorless 
and who have a quiet and retiring manner are eclipsed by 
large amounts of bright color, while striking persons with 
dashing manners can wear any colors which are becoming to 
them, providing they wear them for suitable occasions. 

Complexion. ‘There are so few people who are perfect 
blondes or perfect brunettes that a table which merely states 
that blondes should wear certain colors, as blue, purple, 
ete., and that brunettes should wear other colors, as red, 
yellow, etc., is often misleading. There are so many varia- 

288 


Dress Design 


tions in individuals, and each spectrum hue has so many 
different effects through its three properties that a mere 
table of colors will not solve the problem. For example, it 
has always been said that a blonde can wear blue; yet bright 
blue and dull blue have quite different effects, and light blue 
and dark blue are also different in their effect upon other 
colors. If she is a very pale blonde shall she wear a bright 
blue? or a very dark blue? This problem of color for 
individual types can be solved by knowing how to classify 
people, and by understanding what colors do to each other. 

Effect of values upon the wndiidual. Dark values take 
away color. People who are pale and colorless find that plain 
black worn next to the face makes them look tired and more 
sallow. If one has too much color, and wishes to tone it 
down, then black or other dark values are a good choice. 
Dark values seem to reduce the size of the figure, and call 
attention to the silhouette. 

Very light values add color. If a person wishes to bring 
out the color in the complexion and hair, it would be advisa- 
ble to wear white or some very light value next to the face. 
Light values seem to increase the size of the figure. 

Values which are alike or similar neutralize each other. 
Men and women who have light hair and eyes, and not much 
color in the cheeks, seem to lose every particle of individual- 
ity when they wear tan or light gray clothes. Unless they 
have very striking personalities colorless persons are unable 
to overcome the handicap of the strongly neutralizing force 
of tan or rather light gray. Sometimes it is possible to place 
a dark value near the face in a collar or tie, and, if the person 
is not too colorless, this accent may bring sufficient contrast 
to relieve the monotony. Middle values blend in with the .., 
values of the average background, and do not call attention” 
to the outline of the figure. 

How intensity affects the coloring of an individual. Intense 
colors will force their opposite or their neighboring colors, 

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Art in Every Day Life 





depending upon which predominates in a person’s coloring. 
The duller a color becomes, the less power it has to force 
another color. 

The effect of intensity on contrasting colors. Since comple- 
mentary colors force each other, any desirable color in the 
complexion may be emphasized through their use. For 
example, a slightly rosy flush on the cheeks will be inten- 
sified by the use of blue-green or green. On the other hand, 
if a person has any undesirable color in her complexion, she 
should avoid wearing the intense complement of that color. 
For example, if a person’ s face were inclined to be suffused 
with a reddish-purple flush, any of the contrasting colors 
which contain large amounts of green, yellow-green, or blue- 
green would intensify that flush. 

The effect of intensity on related colors. 'The color of the 
hair, eyes, or any color in the complexion may be emphasized 
by repeating the same hue in a lower intensity, or by the use 
of a small note of the same hue in a bright intensity. For 
example, blue eyes may be intensified by wearing a dull blue 
dress, or by a small amount of bright blue on the hat or 
dress. If the bright color is used in too large an amount it 
will overpower the color of the eyes, and tend to neutralize 
them. 

How to subdue color. A color may be subdued by combin- 
ing with it a slightly different hue which is rather low in 
intensity. ‘To illustrate this point, let us take the problem 
of subduing the yellow in a sallow complexion. If the exact 
hue of the skin were repeated one would be conscious of the 
presence of a great deal of yellow. But if a dull red-orange 
(reddish-brown) were worn, the yellow of the skin and the 
yellow in the red-orange would tend to blend with each 
other, and the odd hue, the red, would be the color which 
would stand out. Such a color would have a flattering 
effect upon the skin. 

The detracting effect of a somewhat trying color may be 

290 


Dress Design 


remedied by the use of a becoming color worn between it and 
the face. 7 

Types of complexion. People may be grouped according to 
type of coloring and classified in three main groups, but 
within these groups there are many variations. These 
classifications may be designated as: The Cool Type, The 
Warm Type, and The Intermediate Type. 

These terms “cool” and ““warm”’ as applied to the hair 
and complexion are only relative, and it is essential to have a 
very definite idea of what the terms denote as applied to 
individuals before going any farther. All flesh colors are 
more or less warm, because they fall on the warm side of the 
spectrum, with the exception of gray hair and blue-black 
hair, which are distinctly cool; ‘brown eyes &re warin, blue 
eyes are definitely cool, while bluish-gray and greenish-gray 
eyes are cool. 

By turning to the color chart and looking at the warm 
colors it will be seen that although all the colors between 
yellow and red-purple are warm, they are not equally warm. | 
Red and red-orange are the colors of flame, and are the 
warmest of all the colors; even the orange is distinctly warm. 
Then looking at the yellow, one recognizes ‘that while it 
belongs in the same group with red and red-orange, it is 
decidedly cooler; the yellow-orange, which would come next 
to yellow and toward orange, gives one a much less positive 
impression of heat than orange and red-orange; likewise 
red-purple is a cooler variation of red than red-orange, or 
flame color. Thinking of these hues yellow, yellow-orange, 
and red-purple as the cooler tones of the warm hues, and then 
adding some blue to that combination, one has a color scheme 
which is distinctly cooler than one which includes yellow- 
orange, orange, and red-orange. When this difference is 
recognized one has a basis upon which to start a classification 
of the warm and cool types of individuals. 

Keeping in mind the color comparisons which have just 

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been made, compare two entirely different groups of 
people: 

(1) Think of the people in the south of Europe—especially 
of the Gypsies and the Italians—with their entire color, 
scheme composed of the warmest colors; orange and yellow- 
orange skins, with a red-orange flush on the cheeks; the hair 
a rich dark fed-orange (brown), and the eyes brown. Their 
coloring is characteristic of the warm type of person. (See 
Fig. 178D.) 

(2) In comparison, think of the people in the north of 
Europe—especially in the Scandinavian countries—with 
their cooler coloring; fair skins, showing the cooler pink 
which really is a tint of red-purple; yellow or yellow-orange 
hair (called golden), and blue eyes. (See Fig. 178A.) 

The two types illustrate the essential differences between 
the representative examples in the warm and cool groups. 

In order to become accustomed to differentiating these 
types it is very helpful to classify the people whom one sees. 
As a general rule the combination of hair and flesh color, 
including the flush on the cheeks will be the determining 
factors in placing one in a warm or cool group. The eyes will 
serve further to place a person in one group or the other, but 
the hair and skin are the principal considerations. In order 
that the reader may proceed further with the classification 
the typical examples in the warm and cool types and in the 
intermediate group are described: 

The Cool Type. (1) The Cool Coloring with Golden Hair. 
Picture a typical blonde; the general flesh color is commonly 
called “‘fair’’—a pale yellow-orange with just a tint of blue 
around the temples, nose, and mouth; the flush on the cheeks 
suggests red-purple—it is a delicate pink which is slightly 
tinged with blue, rather than a pink tinged with yellow. 
(Fig. 178A.) 

(2) The Cool Coloring with Blue-Black Hair. This type 
is frequently seen among the Irish. The cool complexion 

292 





SLT 


Fic. 178. 


A. (Left) The cool type with “golden hair.” The typical blonde, with fair skin, 
light yellow-orange hair, blue eyes, and the reddish flush, slightly tinged with 
violet, on the cheeks. The costume shows a monochromatic harmony of different 
values and intensities of blue. 

B. (Top of page) The cool type with blue-black hair. This coloring shows a cool 
fair skin, blue-black hair, blue eyes, and the red on the cheeks tinged with violet. 
The costume is in a double complementary harmony of violet, red-violet, yellow, 
and yellow-green. (The yellow appears in the delicate tint of the collar.) 

©. (Center) The warm type with red-orange hair. The hair is bright, the skin 
warm and ‘“‘creamy,” and the flush of the cheeks is red-orange. A complementary 
color harmony of blue-green and red-orange is seen in this costume. 

D. (Bottom of page) The warm type with dark brown hair. The typical brunette 
with warm brown hair, brown eyes, warm skin, and a red-orange flush on the cheeks. 
This costume is in an analogous color harmony of yellow-orange, orange, and red- 
orange. ° 

E. (Right) The intermediate type which suggests neither warmth nor coolness in 
any striking degree, but has some of the characteristics of both. Her costume 
shows a triad consisting of yellow-orange, red-violet, and blue-green. 

Note that black, white, and gray may be included in the various color harmonies. 





Dress Design 


is the same as in the first group—the fair skin with the cheeks 
showing a pink tinged with blue, blue or gray eyes, and blue- 
black hair. This is just as definitely a characteristic example 
of the cool type as is the blonde. (Fig. 178B.) 

There will be variations of both these examples, where the 
general color scheme is cool, yet the individual may have 
special problems to consider, such as sallowness, flushed face, 
etc. These examples will be discussed under the topic 
* Complexion Difficulties to Overcome.” 

The Warm Type. (1) The Warm Type with Red-orange 
Hair. This person is the warmest example of this group. 
The hair is bright red-orange, commonly called “red hair”’; 
the eyes are brown; the skin is yellow-orange, or creamy, and 
the flush on the cheeks is red-orange—pink tinged with yel- 
low rather than blue. A variation of this type, and one more 
frequently seen, is the person with blue or gray eyes, which 
have the effect of slightly cooling the color. However, the 
impression of warmth predominates because the color of the 
hair is so much more conspicuous than the eyes. (Fig. 178C.) 

(2) The Warm Type with Dark Brown Hair. This is the 
typical brunette: The hair is brown, the eyes are brown, and 
the skin is a more or less deep yellow-orange with the red- 
orange showing in the flush on the cheeks. (Fig. 178D.) 

There are variations in this group—persons whose general 
color scheme is warm, but who may be pale, or sallow, or 
who have too much color. They belong to this group, but 
have special problems to consider. 

The Intermediate Type. The Intermediates are just be- 
tween these two groups, and have some of the qualities of 
both types. The skin is neither distinctly warm nor cool— 
it may be called “fair’’; the eyes may be blue, brown, or 
gray; the hair is brown, suggesting neither warmth nor 
coolness in any striking degree. (Fig. 178E.) 

Colors for the intermediate type. The people in this group 
who have good complexions, eyes which are not too light, 

, 293 


Art in Every Day Life 





and value contrast between their hair and skin can wear 
any color or value, provided that the art principles are 
carried out in the amounts of color chosen and in the occa- 
sions for which they are used. 

Having eliminated, as problems, persons with good color~ 
ing in the intermediate group, one’s color knowledge may 
now be applied to the cool and warm types, and to the 
people in all three types who have special problems. — 

Colors for the cool type. Since cool colors harmonize with 
cool colors, the best color choices for dresses, suits, coats, and 
hats for the cool type would be from among the cool colors— 
the blues, blue-purples, purples, the blue-greens, and greens 
in the proper values and intensities. (See Figs. 178A and 
178B.) Trimmings, hat facings, or small accessories, such 
as ties, may be chosen from the contrasting colors on the 
warm side of the spectrum. If bits of red are chosen for 
these accents, let them be the reds which are tinged with 
purple rather than orange, so that they will harmonize with 
the flush on the cheeks; such colors as dark American Beauty 
and dark Magenta! are good, while the color commonly 
called henna ? is poor. 

The coloring of the blonde is delicate, suggesting pearls 
and orchids, and it requires careful discrimination to choose 
just the values which will bring out the fine qualities of the 
complexion. Generally there is very little value contrast in 
blondes, and for that reason it should be supplied in the 
costume. Values which are just like their hair are apt to 
be uninteresting, and either lighter or darker values are more 
becoming. When blondes wear light colors a bit of dark 
color near the face adds interest. This color may be sup- 
plied in ties, beads, hat trimmings, etc. If the person has no 
color to spare, then something very light, preferably a bluish 
white, should be used near the face when black or dark 

‘(RRP D) (1R 3/6) 

2(RO D) (7R 3/6) 

294 


Dress Design 





colors are chosen. Blondes are limited in their choice of 
intensity because their coloring is so delicate that they 
cannot appear to advantage against most of the bright 
colors. If bright colors are desired for sports or evening 
clothes, the cooler hues would be the most becoming. | 

The cool people who have blue-black hair have value 
contrast in their coloring, and so they are able to wear a 
wider range of values than the blondes. They are also able 
to wear brighter colors because their own coloring is not so 
easily destroyed. Their best choice of hues will be the cool 
colors, and they look best in the purples, red-purples, blue- 
purples, blues, blue-greens, and greens. 

Colors for the warm type. ‘The warm type of person is not 
so delicate in coloring as the cool type, and suggests poppies 
and autumn leaves rather than pearls and orchids. These 
people can stand brighter colors, and since they usually have 
decided value contrasts in their hair and eyes and flesh tones, 
they can wear dark and middle values. One who has a very 
dark skin will not look so well in light colors, because light 
values force color and make people look darker than usual. 
If white is chosen, let it be a warm white, as cream color, to 
harmonize with the warm tones of the complexion. The 
colors on the warm side of the spectrum will be becoming; 
yellow, yellow-orange, orange, red-orange, red, and often a 
dull, dark red-purple. (See Figs. 178C and 178D.) The 
colors called brown, particularly the dark reddish-brown, 
and the dark bronze-greens, | for the related colors, and 
bluish-greens for contrasting colors, are among the most 
successful hues. If grays are used they must be the warm 
grays, called ““warm taupe.” The bright reds should be 
chosen from among the reds and red-oranges, rather than 
from the red-purples, in order that they may harmonize 
with the color in the cheeks and emphasize it. 

The auburn or “‘red-haired”’ person will determine whether 

1(YG D) (YG 2/1). 
295 


LA 


Art in Every Day Life 


the red-orange of the hair should be subdued or forced. The 
warmer colors are best for the sake of harmony (excepting 
red-purple, which is seldom pleasing with red-orange). If 
the red-orange of the hair is to be suppressed, then the dull 
dark browns will be best because they make a close harmony. 
If it is desired to emphasize the color of the hair, choose the 
opposite colors, keyed to yellow or orange, as a soft green, 
a bluish-green, or the brownish-greens. Avoid clear cold 
blue, blue-purple, or cold grays, for the contrast is too harsh 
to be beautiful. 

Complexion difficulties to overcome. ‘The problems which 
are apt to be found in any group may be too much yellow in 
the skin, pale eyes, pallid cheeks, flushed face, lack of value 
contrast in the hair, skin, and eyes, and faded hair. In 
these cases one must emphasize the person’s best feature or 
features, and attempt to suppress any unattractive qualities. 

These are some of the problems which may be met, with 
suggestions for their solution: 

To subdue yellow in the skin. For the person with 
sallow skin: 
Avoid all bright colors in large areas. 
Avoid unrelieved black near the face. 
ae tans and grays which are near the value of the 
skin. 


If the person is a warm type with a sallow skin the 
very dull warm colors should be chosen, such as dull 
yellow-orange, orange, red-orange, and red. The colors 
commonly called brown and dark wine color are espe- 
cially good. 


‘ If the person is a cool type with a sallow skin, the 
very dull cool colors will be best, such as dull blues, blue- 
greens, and purples. 


It is well to wear cream white near the face to relieve 

a very dark color or black. Although it is desirable for 

sallow people to wear dull colors for the large areas in 

their costume, they should attempt to secure interesting 
296 


Dress Design 


accents in their dress by using small amounts of bright 
colors for trimmings. 


To force the color in the cheeks. This may be done in 
three ways: 


By wearing white or cream-white near the face. 


By using the complementary color; in a small touch, 
as in a tie or on a hat, if the color chosen is bright; or in a 
large amount if the color is very dull. 


By using the same color as the cheeks, or a neigh- 
boring color—red, or red-orange for the warm type, and 
red-purple or purple for the cool type. The color which 
is chosen should be much duller than the color of the 
cheeks if it is to be used in a large amount, and if it is a 
small accent, as a tie, it may be bright. 


To subdue the color in the cheeks. ‘This may be done 
by wearing dark values, as black or any very dark color, 
except the complementary color. 


To force the color of the eyes. For large amounts, as in 
a dress or suit, use a darker and duller color of the same 
hue as the eyes. 


A very small touch of a brighter color than the eyes, 
used in a tie, for trimming, for a hat facing, ete., will 
intensify the color of the eyes. 


The complementary color of the eyes will force them; 
thus, the grayed tones of orange will force blue eyes. 
While attempting to bring out the color of the eyes, one 
must be very careful not to choose a hue which will 
force an unpleasant color into the face. Therefore, a 
person with very cool coloring may prefer to force the 
blue in the eyes by using a cool color, such as blue, for 
the large areas, with just a small note of the comple- 
ment (orange) near the eyes, while a warm person with 
blue eyes could use the complement (orange) in a large 
area. 


To force the color of the hair. This may be accom- 
plished in three ways: 
By using value contrasts; that is, black or white or 
any color which is darker or lighter than the hair. 
297 


Art in Every Day Life 


By using a duller color which is about the same hue 
as the hair, and having it lighter or darker than the hair. 

By using the complementary color, preferably lighter 
or darker than the hair. 

In making a final choice, one should be sure to bear in 
mind that the complexion must not be sacrificed at the 
expense of the hair. 

To subdue the color of the hair. This is desirable only 
in a few cases, where a person wishes to subdue the red- 
orange in the hair. This may be done by using the same 
hue, or a neighboring hue, at about the same value as 
the hair. However, since this is apt to be trying to the 
complexion, it is usually better to have the same, or a 
neighboring color, in a darker value (one of the dark 
brownish colors for red-orange hair) relieved at the face 
by whatever value is needed; usually it will be cream 
white. 

Realizing that complementary colors force each other, 
the person who wishes to subdue the color of the hair 
will avoid all bright contrasting colors. 

To relieve monotony in the hue and value of hair and 
skin. Value contrasts are needed, especially near the face, 
in hats, collars, and ties. If a becoming hue is chosen, a 
small note of intense color against a subdued background 
may be very-successful. 


Colors for people with gray hair. As one grows older it is 
found that the hair and complexion change, and so each 
person adds certain colors to his list of becoming ones, and 
eliminates others. As the skin takes on more of the yellow, 
one eliminates colors which have a tendency to force yellow. 
As the hair grows gray one may change his color list, for gray 
hair is cool, and thus a person who always chose warm 
colors when the hair was warm brown, and the skin warm, 
will now choose the duller warm colors than before, and can 
add the dull cool colors to the list of most becoming colors. 
Purple and lavender are generally accepted as becoming 
colors for people with gray hair, but these colors must be 
carefully chosen, because the bright purples force yellow. 

298 


Dress Design 


Men and women who have black hair which is turning 
gray should avoid gray clothes of the black and white mix- 
ture commonly called “pepper and salt,’ when these are 
just the same value as the hair. These colors have a neu- 
tralizing effect upon the individual. A person of this coloring 
will look much better in clothes which are lighter or darker 
than the general effect of the hair. 

Colors generally becoming. It will be found that if a color is 
dark enough and dull enough nearly everyone can wear it. 
The following colors are those which are generally becoming: 

Dark blue, in the colors called Dark Navy and Midnight Blue 
(PB LD) (PB 2/3). 

Dark grayish blues, as Dark Cadet Blue (B 3/4N D) (B 3/2). 

Dark green (G 3/4N D and LD) (G 3/2). 

Dark yellow-green, called Dark Bronze Green (YG 7/8N LD) 
(YG 2/1). 

Dull blue-green (BG 3/4N D) (BG 3/2). 

Dark orange and red-orange in the colors called Dark Seal 


Brown, Afriean Brown, and Dark Red Brown (O and RO 3/4N D 
and LD) (O and RO 3/1 and 2/2). 

Dark red, called Dark Maroon, Dark Wine, and Prune (R 3/4N 
LD) (R 2/3 and 2/2). 

Dark purple and red purple, called Plum and Raisin (P and 
RP 16N LD) (P 2/2 and RP 2/2). 

Warm dark grays, called Warm Taupe, which is the color of 
moleskin. 
Black. 

Light colors which are generally becoming are: White. 

Light blue-green, called Turquoise and Robin’s Egg (BG 1/4N HL 
and BG 1/8N L) (BG 8/3 and BG 7/4). 

Light red-orange in the colors called Flesh, Apricot, Salmon, and 
Shell Pink (RO 1/4N HL) (7R 8/5). 

Colors which are difficult to wear. Certain colors stand out 
as being trying to most complexions, and the colors which are 
particularly difficult to wear are: 

Bright blues, around middle value. 
299 


Art in Every Day Life 


Bright yellow greens (mustard color). 
Light dull orange, called tan. 

Bright purple. 

Bright blue-purple. 

Bright red-purple (cerise). 


Summary. Of color in dress it may be said in general that 
the most pleasing color arrangements are those which, on the 
whole, show harmony with just a note of contrast. The 
contrast may beésupplied by a change of value, of brightness, 
or by the addition of a contrasting color. The related and 
contrasting color harmonies which have previously been 
named and described will offer countless suggestions for good 
- color combinations. The colors chosen for all the larger 
garments should harmonize with each other and with the 
coloring of the individual. A dress or suit should be chosen 
to bring out the best points in the hair and the skin, and 
small amounts of color may be placed near the face to force 
the color of the eyes. The most satisfactory general rule for 
color in dress is: Warm colors should be chosen for the warm 
type, and cool colors for the cool type. If contrasting colors 
are chosen for large areas, as for suits and dresses, they 
should be keyed; for example, if a person with warm coloring 
wishes to wear a cool color in a large area, the best choice 
should be a blue which is keyed to warmth—that is, dull blue 
or blue-green instead of a bright cold blue. 

In order to turn all of this theoretical knowledge into 
immediate, practical working equipment, one should begin 
at once to try colors on people, watching the changes that 
seem to take place in the coloring of the person. Make the 
first experiments with the extremes in color, working: 


(1) From the coldest color to the warmest, for example from clear 
cold blue to red-orange, and then trying on the dividing hues, as green 
and red-purple and their neighbors. 

(2) From white to black, and then to the middle values. 

300 


Dress Design 


(3) From the brightest to the dullest colors, and then to the middle 
intensities. 


In this way the most striking effects become apparent, and 
the eye will gradually become able to recognize the more 
subtle changes which the different colors bring out in the 
hair, eyes, and complexion of the individual. 

After having learned how colors affect each other, and 
change one’s appearance, one will be able to determine the 
best colors for any person, and to suggest changes, such 
as color at the face to relieve harshness, or the addition of a 
color note or value contrast, a darker or lighter collar, or 
scarf, or tie, which would transform an unbecoming suit, 
dress, coat, or hat into a becoming one. Very often the 
addition of just such a small note of color or value contrast 
makes an altogether successful costume out of one which 
would otherwise be unbecoming and commonplace. 


301 


CHAPTER XVII 


DRESS DESIGN (Concluded) 
VI. HUMAN PROPORTIONS AND FIGURE CONSTRUCTION 


One of the aims in dress design is to make the figure look 
as nearly as possible like the normal figure. A knowledge of ‘ 
the proportions of the normal figure is a necessary aid to this 
end, for it gives a standard for judging human proportions. 
In addition to this knowledge one should gain skill in the 
use of lines and color in dress, so that width may appear to 
be added to portions of the figure which are too slender, and 
height to parts that are too wide for perfect beauty. 

The head the unit of measurement. When the proportions 
of the human figure are being estimated, the unit of measure- 
ment always is the length of the head, measured from the 
top of the skull (not including the hair) to the base of the 
chin. Fashion designers usually use a figure which is eight 
heads high, but some costume illustrators use figures which 
measure as many as eleven heads high. These models have 
unusual style and elegance, but the woman who 1s selecting 
a dress design shown upon one of these figures should con- 
sider her own proportions before she makes her choice. The 
dress will have a very different effect when it is worn by a 
woman whose head goes six and one-half times into her total 
height. 

Average proportions. In the attempt to find the number of 
head lengths in the average woman’s figure, the authors 
have made careful measurements of the proportions of 350 
women. The average number of head lengths of the first 
hundred and fifty who were measured was 7.493, while the 
average for the three hundred and fifty was 7.5009. It is not 

302 


Dress Design 
likely that there would be any marked variation if the num- 
bers were greatly increased, and so we may say that the 
average woman's figure measures approximately seven and\ 
one-half head lengths. 

Since the fashion figure of eight head lengths is not com- 
monly found, the standard figures in this book are drawn 
seven and one-half heads high from the crown of the head 
to the soles of the feet. (Fig. 182.) When the figure is drawn 
in perspective, as it generally is, this measurement comes to 
the ball of the nearer foot. <A figure of these proportions will 
be graceful enough to enable one to make attractive costume 
drawings, and it will be useful, because the proportions of a 
costume planned upon it look as they would on the average 
person. In addition to the normal figure of seven and one- 
half head lengths, two figures of different proportions are 
included here: The fashion figure, which is eight head 
lengths, and another which is six and three-fourths head 
lengths. (Figs. 183 and 184.) This six and three-fourths 
head lengths figure shows the proportions of the girl of high 
school age. 

Methods of determining an indiidual’s proportions. A 
simple way to secure a lay figure or a dress form for an 
individual is to pin a large piece of paper on the wall, and to 
have the person stand against it while some one makes a 
pencil or a charcoal drawing of the outline of the entire 
figure. One’s proportions may easily be studied from such 
an outline, and a dress design may be sketched upon this life 
size drawing. If desired, a smaller sketch may be drawn to 
scale. In determining all the proportions, the head length 
should be used as the unit for measuring, and all measure- 
ments written down in terms of one head length (1 H. L.), 
one and three-fourths head lengths (134 H. L.), ete. Then, 
using a ruler, and taking one inch as equal to one head 
length, it will be a simple matter to translate these propor- 
tions into inches, and fractions of an inch, and to show them 

303 


Art in Every Day Life 





in diagram form as illustrated in the table of lengths and 
widths in Fig. 179. 

A second method of securing measurements for the draw- 
ing of a lay figure is to have the person who is to be measured 
stand perfectly still while the person who does the measuring 
holds a ruler in the hand stretched out as far as the arm will 
reach. (The reason for always having the arm out-stretched 
as far as possible is to make sure that there is no variation in 
the distance of the ruler from the subject, while the measure- 
ments are being taken.) The person who is measuring 
should walk toward or away from the subject until 
the length of the head (measuring from the chin to the top 
of the head, but not including the hair), is exactly one 
inch. All the measurements which are shown on pages 
305 and 306 should be taken, and drawn as shown in Fig. 
179. 

Photographs are very satisfactory to use as foundation 
figures for dress design. They may be secured for a compara- 
tively small cost, since they do not need retouching. It is 
convenient to have the head, in the photograph, measure 
one inch in height. Since the aim in the photograph is to 
secure a model which will show the natural silhouette of the 
figure it is necessary to wear garments which follow closely 
the lines of the figure. 

The person who has normal proportions may trace a good 
lay figure and design costumes upon it, but the one who has 
any unusual proportions may wish to know a simple method 
of constructing a figure of her own proportions, so that she 
can design her clothing upon it. A simple method of build- 
ing up a lay figure is illustrated in Figs. 180A to H. Here 
the proportions of the normal figure are used, but it is obvious 
that they may be altered to suit individual requirements. 
Before starting to draw a figure one should become familiar 
with some of the outstanding proportions, in order to have a 
standard for judging a well proportioned figure. These 

304 


Dress Design 


proportions are shown by the group of lines with arrow heads 
at the left of the line on which is marked the table of lengths 
for the woman’s figure, in Fig. 179. 

Proportions of the woman’s figure. In the normal figure, 
the line of the hips and wrist divides the body into two equal 
parts. The armpits divide the upper half of the body into 
equal parts, while the knees come halfway down the lower 
half of the body. The eyes come halfway between the chin 
and the top of the skull. 

The “balance line.” In drawing the figure the lengths 
and widths are marked off on a “balance line” (AB, Fig. 
179). The balance line coincides with a plumb line which 
would follow through the center of the front view or the back 
view figure. In three-quarter view figures the balance line 
comes through the center of the column of the neck and 
waist, and to the ball of the foot on which the weight is 
resting; or it comes between the feet, if the weight is equally 
distributed. 

Proportions for the figure measuring seven and one-half 
heads. If the total height of the figure measures seven and 
one-half heads the normal proportions are as follows: 


TABLE OF LENGTHS OF THE WoMAN’s FIGURE 


Mees ULL G05 CLITIe sper ng cn, 3 Sera coast el ee ae 1 head 
“ese “shoulder line and pit of neck... .....1 1/3 heads 
“eee "© modesty line,” the lowest point for 

HECKeODEM Oey cree Wa iias et aie oe 1 2/3 heads 
«oe «armpits (1/2 H. L. below shoulder 

LNG res ara stadt, ov orig shee Ws of 2 1 7/8 heads 
Se Me Tee I ISLsING ye on eee rec Bee eee he 2 heads 
ee he ee ae WHS ANC LELDOWS | osteo ee oon ie 2 2/3 heads 
Sete ID JING ANG Wrists: 7,25). n8.. Jee 3 3/4 heads 
een Meh ON GIOLOTSO fab yo ihn tds ain 2K 4 heads 
eRe Oy SNOT: TDG ies he cha Wintec a arr nig o> 8 aoe» 4 1/2 heads 
eA A WOMTEES tales sen eh ee ae a sien 0 PS 5 9/16 heads 
eee ae ve witkest: pact of calfof legs 75... 25,2 4: 6 heads 
UMN Ss A ATI Le reer Me lod ones nee ok te os i heads 


Art in Every Day Life 


Top of skull to base (soles of feet, or balls of feet if 


drawn in perspective)........... 7 1/2 heads 
Thevlengtiiralititerhiand st tiseks iainge Seu wa Mates 24. 3/4 head 
The lengths of the head are as follows: 

TOD Ghani vebroiis: 0. c oiwiet he ty eee ae 3/8 head 
2 UN ROR UMMMMRFESS CS eter, rs SEE eilgha!S 2 al slug te et Vaal 1/2 head 
Pt Ot Pee ASPEN TSE ATIC TEATS. wer: sits ston Sees 2/3 head 
i i iO OLOLMID Der Up. meee nec ne oe 3/4 head 
ie | Tae eR LICECIOL CLM aura eh Foy ets © elton il head 


The average woman’s head length is 8 1 /2 inches. 


TABLE OF WIDTHS OF THE WoMAN’S FIGURE 


DRL ivey CLTEIWVACe, Whe erm dR eee near 3/4 head 
Neck ta bol amen iienircns Uy Cae Wake SAA at Uae eR 3/8 head 
Neck at the base (slightly above the pit of the neck). . 1/2 head 
ehonidersataine pit Of tne NeCKA). 2.2.0, ek es oes «2 ees 1 1/2 heads 
TES USth en tei a caine iat he, keer gata toes 1 1/4 heads 
ASTER Sars We Sor ae Ss 9) fac bl Ad A, Ree oe 1 head 
ETA eee eae See ites FT ire NW cri Sg ee Seger 1 1/2 heads 
Widtitigercoss: Kneaceneuader fh l5 8 oe een o sshd 3/4 head 

ve widest part of calves of legs... ....... 13/16 head 

By BN ah EM LS ae ODOR Foe So's grips SAO ead tak te ee 7/16 head 

oh ie ehaserotsreet, tront Views «i245 ake. se 11/16 head 
Widtiarulesinel OW. ec so. ~ sisi oe dae bees Gane 1/4 head 
Width of widest part of arm (forearm, slightly below 

elbOW ie eee es NS eS yao! SR ne 1/3 head 
VV LG Gh Faveristy Site. VIEW ts... sass hoes Sauna 3/16 head 


The eyes are the width of an eye apart, and there is the width 
of an eye between the eye and the edge of the face. The 
features are parallel to each other. 


How to Draw THE Lay FIGuRE 


First step. (Fig. 180A.) The first step in drawing 
the figure is to draw the balance line, and to mark on it 
all the important lengths and widths of the body, as 
shown in Fig. 180A. The drawing of this table will be 
facilitated if the balance line is divided first into the 
correct; number of head lengths. If one makes an 
accurate table, using clear black lines it will not be 

306 


Dress Design 


eee 


necessary to draw a new table of lengths and widths 
every time a costume is to be designed. This drawing 


STANDARD PROPORTIONS pee the WOMAN'S FIGURE 


TABLE »* LENGTHS TABLE Ap WIDTHS 
A 


TOP 9% SKULL ~~" FOP $=) SKULL 


EYEBROWS SKULL AT EYEBROWS 
eaves SHEAD LENGTH 
BASE 9 NOSE # EARS a 
TOP * UPPER LIP 
CHIN NECK AT CnIN 
3 HEAD LENGTH 
8 
SHOULDER LINE 4 PIT 9 NECK SHOULDERS AT NECK 
\5 HEAO LENGTNS 
LOWEST POINT 70° NECK OPENING 


caer mT eft READ LENGTH BELOW -SROULDER) 
2? HEAD LENGTHN Tun Bust 


us HEAD LENGTHS 
WAISE + eE.Bows WAIST 
| HEAD LENaTn 
3°? HEAD LENGTH 
fl nie UNE S-NRIST HIPS 
nhs I; HEAD LENGTHS 
4" HEAO LENGTH 


END 9 TORSO END 9 TORSO 


FINGER TIFS 


5'* HEAD LENGTH 


KNEES 
2 HEAD LENGTH 


6 HEAD LENCTR WIDEST PART 3 acest PART 9°. CALF 7 bE 
¥ HEAD LENGTH 
\ 


7” HEAD LENCTH ANKLES ANKLES 


ere es eo ie etait 
i 
7d BAD LENCTHS SO1eS 3 FEET OR ; BASE 


BAUS 7 PEET 1F DRAWN IN PERSPECTIVE 7 HEAD LENGTA 
16 


ASB is THE BALANCE UNe. 





Fie. 179.—A table of standard proportions for a woman’s figure. 


will show through thin paper and a figure may be drawn 
over it. A full-size drawing of this table is shown in 
Fig. 181. 

Second step. (Fig. 180B.) 

a. Swing in an oval for the head. 

b. Draw the shoulders. Carry a curved line from 


307 





Dress Design 


‘gin3g-Avy] @ SuIMeIP Jo poyjour s[dums ev ysadsns sdojs yYSI9 vey. —O8I “Ol 
79) rv | 














Art in Every Day Life 


the chin to the end of the shoulder line, as if it were a 
continuation of the side of the face. This makes an 
easy curve for the shoulders. 

ce. Draw the torso. From the ends of the shoulders, 
swing a slow curve down to the end of the torso. Have 
this curved line touch the end of the bust line and the 
waist line. : 

Third step. (Fig. 180C.) Draw the upper portion of 
the legs. Draw curves from the middle of the bust line, 
touching the ends of the waist and hip widths, and 
extend these lines to the 6th head length on the balance 
line, to complete a graceful curve. 


Fourth step. (Fig. 180D.) Draw the lower portion of 
the legs. (Note. This step is omitted if one is drawing a 
dress form only.) ! From the point on the balance line 
which marks the 5th head length, draw curves which 
touch the ends of the lines showing the broadest part 
of the calf of the leg, and the ankles. Continue the 
curve to the base line. ‘To complete the outside outline 
of the leg, connect the upper and lower portions of the 
leg with a gentle curve touching the end of the line 
which represents the width of the knees. 

Fifth step. (Fig. 180E.) Draw the feet. (Note. 
Omit the feet for the dress form.) 

a. Draw the outside lines of the feet with a swinging 
line by connecting the ends of the lines showing the 
width of the base line and the width of the ankles. 

b. The lower part of the foot is drawn with two 
slightly curved lines meeting at a point to form the toe 
of the shoe. 

Siath step. (Fig. 180F.) 

a. The bone of the upper arm. 1/8 H. L. within the 
shoulder line, draw a line to the elbow line, to indicate 
the bone of the upper arm. 

b. The bone of the forearm. From the elbow to the 
wrist, draw a line for the forearm. 

c. The construction ‘lines of the hand. From the 
wrist, draw lines for the thumb and the bent lines to 
indicate the hand. (Note. Omit for dress form.) 


1 The directions for drawing dress forms are given on pages 312 and 314. 


310 







Fic. 181.—The lengths and 
widths of the woman’s figure, as 
diagramed in Fic. 179, drawn to 
the scale of one inch equaling one 
head length. 














Fic. 182.—Front view of a lay- 
figure measuring seven and one- 
half head lengths, drawn accord- 
ing to the proportions of the 
average adult figure, as diagramed 
in Fig. 179. This drawing is made 
to a scale of one inch equaling one 
head length. 









7 
; Me, 

4 a 
an 

7.) ; } 

oe 
> 
zi 


Fic. 183.—This lay figure, 
measuring eight head lengths, 
shows the proportions of the 
fashion figure. 














Fic. 184.—A lay figure which 
measures six and_ three-fourths 
head lengths. These are the pro- 
portions of the average high school 
girl, 


mie 


belt rs ‘¥ eame at i 








Dress Design 








d. Draw the curves of the neck, widening them 
slightly toward the base. 

e. Indicate the pit of the neck. 

Seventh step. (Fig. 180G.) | 

a. Width of the arm. Mark off widths of 1/4 H. L. 
at the elbow, and 1/3 H. L. slightly below the elbow for 
the widest part of the arm. (Note. For the dress form 
mark off 3/8 H. L. at the elbow, and 1/4 H. L. at the 
wrist.) 

b. Swing in the upper arm with a curve from the end 
of the shoulder line, touching the elbow width on the 
outside, and continue the line until it meets the bone. 
On the inside, start at a point about 1/8 H. L. inside 
the bust line, and continue the line beyond the elbow 
width. 

ce. The curves for the forearm begin somewhat above 
the elbow, touch the elbow width, and the width of the 
forearm, going down to the wrist, which, side view, 
measures about 3/16 H. L. 

d. Draw the hands, studying your own hand for 
general proportions and for form. Keep the hands 
slender. (Note. Omit for dress form.) 

e. Indicate the curves between the knees. (Note. 
Omit for dress form.) 

f. Draw the inside line of the leg with a curve from 
the widest part of the calf to the ankles. (Omit for 
dress form.) 

g. Draw the lines to show the shoes. Work within 
the outline of the foot. (Omit for dress form.) 

h. Draw the waist line and the bottom of the skirt. 
These are curved lines, the ellipses of circles seen below 
the level of the eye. 

i. Draw the neck line and armholes of the under 
garment. (Omit for dress form.) 


Eighth step. (Figs. 180H and 182.) Draw the features 
and hair. (Omit for dress form.) 

a. Eves. Have the upper lid cover one-third of the 
iris so that the eyes will not look staring. Do not draw 
the under lid. Leave high lights at corresponding points 
on both eyes. | 

b. Nose. Keep the lines indicating the nostrils 

311 


Art in Every Day Lite — 


nearly horizontal. If they approach vertical lines the 
nose looks tilted. 

ce. Mouth. The mouth may be indicated by a line 
which curves downward slightly toward the center; 
then use a very short, flat ““U” shape for the top of the 
upper lip, and a much flatter one for the base of the 
under lip. Indicate high lights on the upper and lower 
lip by means of a break in the line. 

d. Ears. Usually the ears are covered, but if the 
base of the ear shows it comes on a line with the base of 
the nose. The top of the ear is on a line with the eye- 
brows. 

e. Hair. The hair should be drawn very simply. 
An outline is sufficient. The line should be easy and 
graceful. The hair should not extend much beyond the 
skull. 

(Note. Remember to keep all the features parallel.) 


Tue Front View Dress Form. The method of 
drawing the dress form without head, hands, and feet,. 
is similar to the drawing of the figure, as illustrated in 
Figs. 180A to G. The differences are quickly seen in 
the drawing in Fig. 185. It is not necessary to mark off 
the placing of the features on the balance line when 
preparing to draw the dress form, but it may help to 
secure a graceful line for the shoulders if the oval of the 
head is sketched in. The oval should be erased after the 
shoulders are drawn. The steps shown in Figs. 180D 
and E are omitted, for it is not necessary to draw the 
lower part of the legs. In Fig. 180F, it is not necessary 
to draw the hands. The lines to show the lengths and 
the positions of the upper and lower arm are sufficient. 

The top of the collar is an ellipse. Its horizontal 
diameter equals the width of the neck at the chin. This 
diameter is drawn 1/16 H. L. higher than the point 
on the balance line which indicates the chin. The 
sleeves are slightly wider than the arm measurement, 
and measure 3/8 H. L. at the elbow, and 1/4 H. L. at the 
wrist. The skirt of a dress form should hang perfectly 
straight from the hips, and if the balance line continues 
to the base line or to the floor, the length of the skirt 
may be estimated upon that. It should be noted that 

O12 


Dress Design 








the length of the skirt should be determined at the 
outside boundary, and not at the center front. For 
example, the diameter of the ellipse of the bottom of the 
skirt in Fig. 185 shows the actual length of the skirt, 





Fic. 185.—Illustrating asimple meth- Fic. 186.—A method of drawing a 
od of drawing a front view dress form. back view dress form. 


while the center front, being nearer, looks longer than 
it is. This skirt is one head length, or about eight and 
one-half inches, from the floor. 

It is convenient, while designing a dress, to leave the 
center front line, and light lines to indicate the “‘ modesty 
line,” waist line, elbows, and the hips. All other con- 
struction lines should be erased before beginning to 
design the costume. 

313 


Art in Every Day Life 





Tue Back View Dress Form. The back view is 
drawn like the front view, except that the direction of 
the curves of the collar, the bottom of the sleeves, and 
the waist line is opposite to that of the front view. The 








Fic. 187.—Two suggested steps for the drawing of a three-quarters view dress 
form. 


curve for the bottom of the skirt is the same as in the 
front view. Note that the same sized ellipse is used for 
the front and back view for collar, waist, and sleeves, 
but that the dotted lines in the front view are visible 
lines in the back view. (Fig. 186.) 

Tue TuHrREE-QuARTER View Dress Form. The 
three-quarter view dress form is started as the front 

314 


Dress Design 





view is started, with the balance line on which the 
lengths and widths are marked off. Note that the 
center front of the three-quarter view dress form or 
lay figure does not fall on the balance line, as it does in 
the front view. Its location must be determined later. 
The shoulders will appear narrower in a three-quarter 
view, but there will be little change in the diameters of 
the bust, waist, and hips since they are more nearly 
circular in form. 


First step. (Fig. 187A.) 

a. After all widths and lengths have been marked 
off on the balance line, erase 3/16 H. L. from the shoulder 
line on the side that is to be turned away from the 
observer. 

b. Draw the ellipse for the top of the collar. Since 
the neck appears somewhat wider in the three-quarters 
view than in the front view, it is necessary to add 
1/16 H. L. to the nearer half of the line which represents 
the width of the neck at the base of the chin. Using 
this new line—7/16 H. L.—as a diameter, draw a narrow 
ellipse for the top of the collar. 

e. Draw the ellipses for the bust, waist, and hips, as in 
the front view figure. The diameter of the waist should 
not be less than 1 H. L., and it is well to have it slightly 
more. 

d. Determine the length of the skirt. 

e. Draw the ellipse for the bottom of the skirt, using 
the same diameter as the hip width. 


Second step. (Fig. 187A.) 

a. To find the center front line. Divide each of the 
ellipses into four equal parts, and indicate these divi- 
sions by dots on the outline of the ellipse. 

b. Draw a vertical line 1/4 H. L. long for the height 
of a high, tight collar, placing this line on the dot on the 
ellipse which is between the balance line and the outside 
of the ellipse. This should be on the same side as the 
shorter shoulder line; that is, on the farther side of the 
figure. 

ce. Connect the end of this line with the dots on each 
ellipse which are in corresponding positions. Draw this 

315 


Art in Every Day Life 





line with slight curves rather than with a severely 
straight line. 

Third step. (Fig. 187B.) 

a. Draw the farther side of the figure. Mark off 
1/8 H. L. from the outside of the shorter side of the 
shoulder line, and draw the farther side of the dress 
form by connecting that point with the end of the 
lines for the bust, waist, hips, and bottom of the skirt. 
Keep these lines slightly curved until they reach the 
hip line, and parallel to the center front line. 

b. Draw the nearer side of the figure by connecting 
the end of the shoulder with the end of the bust, waist, 
hip lines, and the bottom of the skirt. (It will help 
one to secure graceful curves, and to avoid straight 
lines if the lines forming the hips are continued to the 
point where the balance line crosses the shoulder line; 
and if the lines for the waist are carried down in a curve 
to the point where the end of the torso is marked on the 
balance line.) 

ec. Draw a curve for the bottom of the collar, similar 
to the curve of the top, but with a wider diameter. The 
farther side of the collar will be a straight line, parallel 
to the center front, but the nearer side will be a curved 
line which continues, to form the shoulder line. 

d. Draw a curved line for the shoulder line on the 
farther side. 

Fourth step. (Fig. 187B.) 

a. The lines marking the center of the arms are 
started 3/16 H. L. from the ends of the shoulder line. 
Since they are swung away from the body the elbows » 
and wrist come slightly higher than the position marked 
on the balance line. 

b. The armhole is an ellipse which would be about 
three-quarters of a circle and its diameter is the distance 
between the shoulder line and the bust line. 

ce. Draw the sleeves, with a diameter of 3/8 H. L. at 
the elbows, and 1/4 H. L. at the wrists. 

d. Locate the under arm seam. This may be done by 
finding the center of the horizontal diameter of the arm- 
hole, and then from that point drawing a dotted line 
parallel to the contour of the figure. This line will be 

316 


Dress Design 


found useful in estimating the position of the details 
of the costume such as pleats, panels, ete. 


THe THREE-QUARTER View Lay Ficure. The 
three-quarter view lay figure is drawn as the dress form 








A. iB: 


Fic. 188.—A simple method of drawing a three-quarter view lay figure. 


is drawn, with the addition of the head, hands, legs, and 

feet. The method is, first to swing in the outline of the 

head, then the trunk, the legs and feet, and the arms and 

hands. No details are drawn until the entire figure has 

been sketched in. This method of drawing will produce 
317 


Art in Every Day Life 


an effect of greater unity than one in which the work is 
finished part by part. 

First step. (Fig. 181.) The balance line with its 
widths and lengths is drawn or traced from the table of 
lengths and widths, as for the front view. 


Second step. (Fig. 188A.) The oval for the head is 
drawn next. 

a. Lightly sketch an oval as for the front view, with 
the width at the eyebrows equal to 3/4 H. L. 

b. Draw a slight depression for the eye on the outline 
on the farther side of the face. The cheek bone comes 
just below this eye socket. 

ce. Build out the chin slightly on the same side, to 
complete the outline of the farther side of the three- 
quarter view face. The line of the original oval at 
the chin should be erased when the new chin line has 
been drawn. 

d. Add 1/16 H. L. to the width of the head at the 
eyebrow line, on the nearer side, for the additional 
width of the skull as seen at this view. This amount 
should slope off in a gradual curve to the top of the head, 
and downward, until it reaches the line of the original 
oval, at a point opposite the base of the nose; it should 
be continued in a gradual curve until it reaches the 
balance line at the base of the chin. 


Third Step. (Fig. 188A.) Draw the neck and 
shoulders. 

a. Add 1/16 H. L. to the nearer half of the line which 
represents the width of the neck at the chin. 

b. Erase 3/16 H. L. from the farther side of the 
shoulder line. 

e. Draw the farther shoulder. Swing a curved line 
from the nearer outline of the skull to the new shoulder 
point, 3/16 H. L. inside the shoulder line. 

d. Draw the nearer shoulder. This is a curved line 
which starts from the skull at a point opposite the line 
of the mouth, carries downward until it touches the 
end of the line marking the width of the neck, and then 
swings down and outward to the end of the shoulder 
line. 

e. Draw the farther side of the neck. This is a curve 

318 











cs 


Fiac.. 189.—Three-quarter view 
of a lay-figure measuring seven 
and one-half head lengths. This 
drawing is made to a scale of one 
inch equaling one head length. 


“aie 
at 
it 


i" Pes * 
olen 


ae 





Dress Design 





which is almost a straight line. It begins at the end of 
the line which shows the width of the neck at the chin, 
and goes just a little below the new shoulder line. 

Fourth Step. (Fig. 188A.) Draw ellipses for the bust, 
waist, hips, and bottom of the skirt, as described in the 
drawing of the three-quarter view dress form, in e, d, 
and e of the first step. | 

Fifth step. (Fig. 188A.) Draw the center front line 
as described in the second step of the three-quarter view 
dress form. In this case, however, there is no ellipse 
for a collar, and so the center front line of the neck 
will begin at a point halfway between the balance line 
and the outside of the neck, on the line which indicates 
the width of the neck at the chin. It goes down to the 
pit of the neck on the shoulder line. 


Sith step. (Fig. 188B.) Draw the outlines of the 
figure according to the directions given in a and b of the 
third step of the dress form. 

Seventh step. (Fig. 188B.) Draw the legs and feet. 
Note the position of the balance line and the lines which 
mark the knees and ankles, and draw the three-quarter 
view legs and feet in the same relative position as shown 
in Figs. 188B and 189. It will be seen that the outline 
of the farther knee comes 1/8 H. L. inside the line show- 
ing the width of the knee, on the balance line. The 
outside of the nearer knee is 3/16 H. L. beyond that line. 
The contour of the legs and feet may be copied from 
this drawing. 

Evghth step. (Fig. 188A.) 

a. Divide the eyebrow line of the original oval into 
four equal parts. Through the point next to the balance 
line, on the farther side of the face, draw the new center 
line for the face as it would appear in the three-quarter 
view. This line is a curve which begins at the balance 
line on the top of the head, and swings down to the sec- 
ond division on the eyebrow line; from there it continues 
to swing out in a curve to a point a little above the line 
of the nose, and then back to the middle of the chin, 
halfway between the balance line and the outline of 
the neck. | 

b. Continue the lines marking the divisions of the 

319 


Art in Every Day Life 


face from the balance line until they cross the new center 
line. Then erase the balance line with its divisions, so 
that it will not be confusing. The new center line is not 
to be erased until the head is finished. 

ce. Draw the features. The features should be drawn 
parallel to each other, and centered upon the center 
line. However, since the face is seen in perspective, 
the farther half of each feature will appear somewhat 
narrower than the nearer half. The nearer eyebrow 
and eye end at the balance line, or a trifle beyond. The 
inside of the farther eye is hidden by the new center line, 
which, at that point, marks the bridge of the nose. The 
nearer nostril appears slightly larger than the farther, 
and, as in the front view, is nearly a horizontal line, so 
that the nose will not look tilted. The nearer half of 
the mouth is somewhat wider than the farther half. 
The ear is placed slightly inside the outline of the 
skull. The top of the ear comes on a line with the eye- 
brows, and the base of the ear is on a line with the base 
of the nose. The beginning of the line for the jaw comes 
at this point, two-thirds of the way down the head. The 
hair begins 1/4 H. L. down from the top of the head, and 
extends very slightly beyond the face, on the farther 
side; and it covers most of the ear on the nearer side. 
The hair should not extend much beyond the skull. 


A book on Artistic Anatomy will be valuable as an aid 
in figure drawing, but there is nothing so helpful as expe- 
rience in drawing from life. In these life drawings one should 
not work for details, but rather aim to learn proportions, and 
to discover the rhythm in the body. One should study to 
see how one line relates to another, how graceful and unified 
the figure is; and attempt to put this rhythmic quality into 
the sketches. As one learns to see the rhythm in the lines 
of the body, the lay figures will take on beauty and charm, 
and will add interest to the costumes which are designed 
upon them. 


320 


CHAPTER XVIII 


INTERIOR DESIGN 
I. PERSONALITY EXPRESSED THROUGH CHOICES 


When a person chooses something to put into his house 
he is doing two things: first, he is gratifying some need or 
desire, and second, through the qualities which that par- 
ticular object possesses, he is stating to everyone who can 
interpret the meaning of such things what sort of person he 
is. Through his clothes, his house, his pictures, books, 
furniture, and other accessories a person proclaims himself; 
his sincerity or insincerity, his egotism or his modesty. The 
person who makes an effort to understand what different 
patterns and colors denote makes a deliberate effort to ex- 
press his best personal qualities through his choices. Walt 
Whitman, in his “Leaves of Grass,” says: 


“There was a child went forth every day, 

And the first object he looked upon and received with wonder, 
pity, love, or dread, that object he became, 

And that object became part of him for the day, or a certain part 
of the day, or for many years, or stretching cycles of years.” 


It should be recognized that mere things have a tremen- 
dous influence in forming character. It would take an un- 
usually strong character to remain true to high ideals of truth 
and sincerity if dishonesty were the keynote of the home 
surroundings. Such things as imitation fireplaces, cheap 
wood painted to imitate a costlier wood, imitation leather,— 
all these would be avoided if their significance were under- 
stood. 

Unfortunately, quality in things is more or less intangi- 
ble,—as difficult to define as personality in an individual, but 

321 


Art in Every Day Life 


the outstanding features can be recognized and classified. 
With the eyes opened one very quickly reaches the point 
where every picture, every piece of furniture, or drapery 
pattern speaks its note of sentiment or sentimentality, social 
ambition or friendly domesticity, vulgarity or fineness. 
Louis XIV, Louis XV, and Napoleon told as much about 
themselves in the furniture and decorations with which they 
liked to surround themselves as we are able to learn from 
historical records. Similarly, we know more about people 
after a short time spent in their home, surrounded by their 
own things, than we should know in a long time spent with 
them in a hotel or any other impersonal setting. 

If the reader happens to be one who has never realized 
that the things which people choose tell about their character 
and their ideals, let him think for a few moments about 
impressions which he has received at the theater. The cur- 
tain rose, let us say, upon a living room; before anyone came 
on to the stage the audience formed a very definite idea of 
the kind of people who would be at home in that room; and, 
if the stage decorator understood his craft, the people would 
prove to be just about what was expected. If a stage setting 
shows a living room with glaring lights, bright flowered wall 
paper, a red and green rug, showy lace curtains, and over- 
decorated lamps, one expects the people who live there to 
come on the stage more or less gaudily dressed, perhaps 
chewing gum and using a great deal of slang. Suppose, 
however, that the setting shows a room with soft and mellow 
lights, ivory walls, rugs with subdued and harmonious color- 
ing, plain white curtains with quaint chintz draperies at the 
windows, simple furniture, with some comfortable chairs in 
front of a hospitable open fire, plenty of books, some flowers, 
a few good pictures, and some pieces of pewter and luster 
which catch the light and create points of interest. The 
audience would expect the people who live in this room to be 
quietly dressed, low-voiced, and to have dignity and charm. 

O22 


Interior Design 





It would be interesting if everyone would ask ‘‘ What 
would my home express if it were shown on the stage?” 
One would then stand off in a detached and impersonal way 
and judge every detail. Has the choice of pictures expressed 
qualities to be approved or regretted? Have the lamps, 
vases, candlesticks, baskets, and other decorative objects 
been chosen for their beautiful shape and color and refine- 
ment of decoration, or are they over-ornamented? Are 
these decorative objects placed where they are needed,—to 
relieve a bare spot, to create interesting shapes and spots of 
color, or to balance some other object? Or, on the other 
hand, are they put up for show purposes, ostentatiously 
mounted on pedestals, frankly to ‘‘show off’? Are they in 
such numbers that they do not enhance each other or the 
thing on which they are placed, but add to the confusion of 
an over-decorated room? Does the furniture express the 
kind of person that its owner would like to be? Do the rugs 
and wall papers stay back quietly in a well mannered way, 
as backgrounds should? If the result is not entirely satis- 
factory, it would be a good plan to find out just what is the 
matter. 

Masculine, feminine, and impersonal furnishings. Fur- 
niture, hangings, pictures, and decorative objects may sug- 
gest either a masculine quality, a feminine quality, or they 
may be impersonal. Usually the same things would not be 
chosen to furnish a bedroom for a young girl, a man’s room, 
and a guest room. While it is undesirable to have the 
girl’s room look weak, there should be a distinctly feminine 
quality, resulting from the selection of a little lighter type of 
furnishing—a slightly smaller, finer pattern in the drapery 
material, and a little more grace in the lines of the furniture 
and other objects. The colors in a girl’s or woman’s room 
should be somewhat different from a man’s room; they 
should not be lacking in character, as pale blue or light pink, 
but the colors may well be lighter, and the texture finer. A 

a2a 


Art in Every Day Life 





man’s room need not be dark or heavy to be masculine in 
quality, but it should have no appearance of “daintiness”’; 
it ought to be more solid than a woman’s room, and some- 





. 


Fie. 190.—This little room is quaint, unaffected, and domestic. It implies its 
feminine ownership through the lightness of its furnishings. 


where a forceful bit of dark and light or color would be found. 

A guest room should be impersonal—that is, just between 

the masculine and feminine—so that either a man or a 

woman will feel at home in it. A transitional quality should 

be present, which may be achieved by selecting furnish- 

ings neither distinctly light nor heavy, patterns neither 
324 


Interior Design 


very small nor very large, and colors neither dainty nor 
heavy. 

The illustrations in this book if studied with a view to 
visualizing the owners, would suggest that the bedrooms in 
Figs. 190 and 191 belong to women. These rooms appear 
feminine principally because they are light in scale,—both 





ESE 


Fia. 191.—(Courtesy of Wm. Yungbauer). 

A delicate scale of details gives to this room its impression of femininity. The 
choice of the Louis XVI furniture and the character of the hangings, pictures, and 
the decorative details convey a social idea, 


in the color and in the sizes of the furnishings which are used 
together. There is a delicacy in all the details of the fur- 
niture and the decorative accessories, and the textures are 
fine. While these two illustrations show a feminine quality, 
they show very different personalities; one could not imagine 
that the owner of one would feel perfectly at home in the 
other’s room. Turn to the drapery material in Figs. 214A and 
B. One would say at once that this pattern seems to belong 
in a woman’s room, for it has the lightness in scale that one 
O20 





Art in Every Day Life 








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326 


Interior Design 





associates with furnishings for a woman. Masculine per- 
sonalities stamp the rooms in Figs. 192, 193, and 194. These 
rooms seem to suggest sturdiness as compared with the 
women’s rooms; they have a more severe line, and while the 
details are as thoughtfully worked out as in the other rooms, 
they are a little larger in scale all the way through. Sim- 





Fic. 193.—The scale of the furniture and the weight of the color in this room 
leave no doubt that its owner isa man. (The arrangement of the room is marred 
by the poor placing of the square pillow and the rug.) 


- jlarly, the cretonnes in Figs. 217A and B, and 218A and B are 
distinctly masculine in type, for they show more vigor in 
pattern and color than seems to be consistent for a feminine 
room. Turning to Fig. 195, we should say that this room 
expresses neither a strikingly masculine nor a feminine 
quality. It is the type of room which makes a suitable guest 
room. The furniture is neither so light in scale as to appear 
frail to a man, nor so large that a woman would think it 
327 


Art in Every Day Life 





heavy. The drapery material has strong enough character 
in pattern and color to appear sufficiently forceful to a man, 
and it is light enough in scale to be pleasing to a woman. It 
is through striking a middle ground in form, pattern, and 
color that one produces an effect which is suitable for the 
room in which either a man or a woman would feel at home. 

Domestic and social qualities as expressed in the home. In 





Fic. 194.—There is a masculine quality in this bedroom. It is denoted by sub- 
stantial furniture and by the simplicity of the furnishings. 


addition to expressing a masculine or a feminine quality, 
objects may give a social or a domestic feeling. Domestic 
quality is the outward expression of the love of home and 
family, and is usually informal. The social idea is more 
formal than the domestic. When the term “social” is used 
to define one of these group expressions it must be under- 
stood that the more limited sense of the word is intended, as 
referring to the characteristics which result from an interest 
in the conventions of formal society. This expression will 
vary with the social standards of the individual. If he is a 
328 


Interior Design 





person of taste, if he is sincere, and his standards are high, 
grace and charm and fine quality will be reflected in his 
choices and arrangements. If, on the other hand, he is 
insincere or a social climber, that will be apparent in the 
things he selects, for they will be ostentatious. 

It should be understood that questions of expense, of good 





Fig. 195.—This guest room is sufficiently impersonal to be used either by a man 
or a woman. The impersonal quality has been achieved by avoiding extremes in 
the scale of pattern and color. 


or bad taste, of richer or poorer materials never enter into 
these attributes of objects—the social or domestic, the 
masculine or feminine. It is simply the individuality of an 
object, just as it is individuality which gives distinct char- 
acter to each of Mr. and Mrs. Black’s four children. The 
oldest child is devoted to the home and to the family; the 
second is interested in social life; the third has some of the 
traits of both the older children; and the fourth is a colorless 
individual with no imagination. Although the actual fur- 
329 





Art in Every Day Life 





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330 


Interior Design 








nishings of the houses of these four persons would change 
with their changes of fortune and their acquisition of taste, 
the essential quality would always be the same. The pos- 
sessions of each person would reflect his personality because 
he could not help surrounding himself with things which 
reflected him. 

Let us go back to the Black family, and see what their 
houses would express under various conditions. It has been 





Fia. 197.—Peace and comfort are suggested in this homelike interior. Here 
there is a consistent use of materials, for all the furnishings are related in texture, 
and they are in keeping with the atmosphere of the room. 


noted that the outstanding characteristic of the oldest son is 
a keen interest in the home. If, in addition, he has good 
taste and average means, one would expect him to choose a 
house very much like Fig. 196. This house is just as home- 
like and as unaffected in its design as it is possible for a house 
to be. It nestles down among the trees, and the vines and 
shrubbery seem to knit the house to the grounds. The small 
paned windows help to give unity, and they seem to add to 
the air of friendly hospitality that the house so clearly ex- 
presses. The furnishings in Figs, 197, 198, 199, 212, and 232 
show the same domestic quality expressed in the interior 
331 


Art in Every Day Life 





as is observed externally in the house just referred to. The 
furniture is built on simple, unaffected lines; the rooms look 
as if they were used and enjoyed. There is a genuineness and 
a friendliness that suggest hospitality and delightful con- 
versation. The most domestic of all the historic period 
styles are the early English periods; the Tudor type of house 
shown in Fig. 200 and the Jacobean room in Fig. 192 are 





Fic 198.—This livable room has much individuality, and it seems to offer a 
delightful hospitality. The room is essentially domestic, for it expresses the spirit 
of home. 

Fic. 199 shows the other end of this room. 


outstanding examples of this expression. This Tudor house 
is similar in spirit to the small house in Fig. 196, showing that 
the characteristic quality of a thing does not depend upon the 
amount of money expended. The Jacobean room in Fig. 192 
shows the dining end of a living and dining room combina- 
tion. While this picture does not show the big open fire and 
the comfortable chairs at the other end of the room, the 
spirit is here. This looks like a man’s room, the room of a 
man of wealth. This home leads one to think that its owner 
has traveled and is a person of wide experience. The objects 
332 


Interior Design 


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333 


Art in Every Day Life 


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334 


Interior Design 


here are of the sort that a man who has had many advantages 
is likely to select from among the many which he has seen. 
The combination of these things which are so distinctive in 
themselves make for interesting personality in a room, and 
suggest that the person who lives in a room like this 1 is un- 
affected and enjoys his home. 

It will be found that even though a domestic person has no 





Fic. 201.—The social expression is illustrated in the formal architecture of this 
adaptation of the Italian Renaissance. Notice the simple wall surfaces which 
emphasize the beautiful proportions and exquisite details of the openings. 


taste, he will express himself just as decidedly as, although 
less beautifully than, the person reflected in the rooms that 
have been illustrated. The rooms of the domestic person 
who lacks taste may not be beautiful, but they will have a 
homelike appearance. 

A study of Figs. 192, 197, 198, 199, 235, and 117 brings one 
to the conclusion that while there is a difference in the 
amounts of money spent in these rooms, there is one idea 
which the owners have in common, and that is a love of the 

335 


Art in Every Day Life 


home and of home activities which results in the spirit which 
we may call “domestic.” 

The conventions of more formal society have influenced 
the life of the second Black child more than they have the 
one who has been described as domestic. This person is 
typical of the “social” group, and the house in Fig. 201 
reflects the influence which would express this social per- 





Fic. 202.—(Courtesy of Wm. A. French & Co.) 
The grace and formality of the social atmosphere are shown in the appointments 
of this breakfast room. 


sonality. Comparing it with Figs. 196 and 200 it is seen to 
be more formal and more conventional than the English 
type of house. One can not say that one of these expressions 
is more beautiful than the other. They are so different that 
no attempt should be made to compare them. Just as the 
classicism of Greek architecture particularly appeals to 
some people and the romanticism of the Gothic to others, so 
the things which are domestic satisfy one group of people, 
while the social expression pleases others. One’s choice 
336 


Interior Design 








between these is a matter of temperament, and it should be 
one’s desire to show his personality in the most consistent and 
the most beautiful way possible. Beauty should be the 
ultimate aim for all of one’s possessions. 





Fic. 203.—Although the simplest materials have been used in this room, there 
is a quality here that creates a social atmosphere. 


In a house of the formal type which has just been discussed 
one would expect to see furnishings similar to those shown 
in Fig. 202. There is beautiful restraint in the furnishing 
of this room, and with all of its richness it has an air of 
simplicity. Everything here is formal and social, and one 
associates ease and luxury and ceremonious entertaining 

337 


Art in Every Day Life 


with its occupants. Fig. 203 is about the way this person’s 
breakfast room might look if there were very little money to 
be spent, and the social activities were planned on a simpler 
scale. The same formality is suggested, and it shows the 
same restraint as the richer breakfast room. 

Not all the social expressions are so sincere and so fine as 





Fic. 204.—The general effect of this room gives the impression of a social quality, 
but there is a feeling of ostentation in the furnishings, and the room lacks beauty. 


these, and if the Blacks were without social background, and 
if this second son were both “‘ambitious”’ and tasteless, the 
social quality would express itself in showy things. If he had 
wealth he would select palace furniture, such as that of the 
periods of the Italian Renaissance and of Louis XIV, and he 
would use it in all its grandeur, in spite of the fact that his life 
was not regulated on the scale and manner of royalty. If 
he did not have a great deal of money to spend he would 
secure this display in some less expensive way, as in Fig. 
338 


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Interior Design 














339 


Art in Every Day Life 





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ainqord pur ‘rey ‘surezno oy} ul Usay}ed OY, “sIseydure Jo UOTNGIASIp [NJssooons ay} Aq Jnoqe yYsNoIq asodad JO VY} St 
WOOL SIY} JO Jooya [e19Ues oy, ‘sarpyenb o1ysowWOp pu [VIOOs Jo UoTVeUIqMIOD SuIseeid Ajrejnoiyed & st a9AH—90G “OL 


— munncs  e 


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Interior Design 








204. The showy border on the walls, the vase on the ped- 
astal, the boastful lines of the furniture, the array of cut 
glass on the sideboard,—ain fact, all the details in this house, 
combine to make it of a totally different quality from these 
others, yet it is just as social. 

The personality of the third Black is a combination of the 





Fic. 207.—An unimaginative design and the least interesting of materials,— 
cement blocks, flat asbestos shingles, and cold gray stucco,—have combined to 
make this house most commonplace and dull. 


first two, and so the social and domestic inclinations are 
balanced. The desire for comfort will be apparent in the 
home, and there will also be some formality. Fig. 205 might 
be the home of this person if he had means and good taste, 
and if there were a smaller expenditure of money it might 
look something like the room in Fig. 206. In both these 
houses there is a suggestion of the formality of the social 
rooms in Figs. 202 and 191, but in addition, there is some- 
341 


Art in Every Day Life 








thing of the intimacy and informality of the domestic rooms 
in Figs. 198 and 212. Fig. 2 shows what this person would 
be likely to do if he had bad taste. Here the desire for com- 
fort has led to the choice of large pieces of furniture, but they 
are exceedingly ugly; and a misdirected social tendency is 
apparent in the desire to display the impossible pictures, sofa 





Fra. 208.—While a bedroom should be simple, it should not be so totally lacking 
in individuality as the one illustrated here. 


cushions, table runner, and statue. It might be a comfort to 
the person who furnished this room to know that if he does 
not instinctively know when a thing is eee he can learn 
to make good selections. 

The fourth child of Mr. and Mrs. Black represents the 
type most unlike the other three. He is the unimaginative 
member of the family—he has no outstanding personality, 
and is colorless and uninteresting. His house would be just 

342 


Interior Design 


“plain house,” like Fig. 207. Cement blocks, flat asbestos 
shingles with no interesting quality in their texture, cold 
gray stucco,—in fact, the sort of thing which is as lacking in 
personality as the hotel bedroom in Fig. 208. He would buy 
a set of furniture for his living room, quite probably a daven- 
port and two big overstuffed chairs. He would have brown 





Fic. 209.—This room looks barren and unimaginative. The arrangement of 
the furniture does not give an opportunity for conversation, and one cannot be- 
lieve that the family enjoys living here. 


floors, rugs, and walls, with brown pictures in brown frames; 
a mahogany floor lamp with a rose-colored shade; leather 
furniture when leather is in style, or a set upholstered in 
mohair when mohair is in the stores. His living room will 
have something of the quality of Fig. 209. There will be 
nothing to induce conversation, no charm, no books and 
magazines,—no impression that people enjoy living there. 

It is interesting to see that masculine, feminine, and 
impersonal qualities, or domestic, social, and unimaginative 
characteristics are so definitely expressed. A comparison of 
these rooms has shown how one expresses his personality in 
the things he chooses, and how, in addition to having per- 

343 


Art in Every Day Life 


sonality, a room shows good or bad taste. One’s aim, there- 
fore, should be to acquire good taste, remembering that 
knowledge based upon a thorough acquaintance with art 
principles will aid in discriminating between honesty and 
sham, between simplicity and ostentation. It will also lead 
to an appreciation of fine quality, so that one may express 
his individuality in the most beautiful way. 


344 


CHAPTER XIX 


INTERIOR DESIGN (Continued) 
Il. THE ROOMS OF A HOMELIKE HOUSE 


Thus far the importance of good taste, and of individuality 
have been emphasized. Another important consideration in 
good furnishing is the “homelike effect,” and in the dis- 
cussion of the separate rooms of the house one will see how 
these three considerations should modify the choice of every- 
thing that goes into aroom. In addition, some of the essen- 
tials for good walls, floors, and furnishings will be considered. 
Some of these have been discussed in the chapters on the 
principles of design, but for the sake of convenience in use, 
the material which relates especially to the separate rooms of 
the house is summarized. 

The hall. The character of the hall establishes the key- 
note to the spirit of the house, for there it is that one receives 
his first impression of the atmosphere which, he assumes, 
represents the home. Dignity, simplicity, and hospitality 
are the qualities which it is hoped to suggest through the 
hall, and whether the home is simple and informal, or majes- 
tic and formal, these characteristics may be expressed 
through the choice and the arrangement of the hall fur- 
nishings. This is readily seen when Figs. 93 and 210 are 
compared. The rich materials, the formal placement, the 
ceremonious lines of the furniture of Fig. 93 suggest that this 
hall might belong in the house illustrated in Fig. 201, and 
that one of the rooms to which it leads might be the one in 
Fig. 202. If the hall is in keeping with the character of the 
house, one would expect that Fig. 210 leads to rooms like 
Figs. 89 and 90, or 198 and 199. The hall may be just a 
passageway large enough to hold the fewest pieces of fur- 

345 





Art in Every Day Life 


niture, such as a small table and mirror, as in Fig, 211, or 
it may be large enough to accommodate a large table, some 
chairs, and a chest; but in any case it should be useful, 








Fic. 210.—The hall should indicate the spirit of the furnishings of the rooms to 
which it leads. The hall illustrated above does this, as may be seen by turning 
to Fias. 89 and 90. 


connecting the rooms of the house and providing a storage 
space. for wraps; it should look hospitable, yet not too 
intimate; simple, but not meagre; and it should suggest 
that beyond it are rooms which carry out the spirit which it 
promises. 

346 


Interior Design 


The living room. A great and lasting pleasure is derived 
from an attractive homelike living room, and the home- 
maker or the decorator who has succeeded in putting a 























Fia. 211.—This simple arrangement would lend an inviting charm to a small hall. 


“livable” quality into a room has done something for the 
family, and for the friends of the family. “Homelike qual- 
ity”’ is an intangible thing, and it is the most vital of all the 
essentials of a good room. It is something that the owner 
nearly always needs to supply, since the decorator usually 
plans and places the larger and more structural objects, and 
stops short of showing the more intimate characteristics of 
347 


Art in Every Day Life 





the owner’s personality in order to give the family the 
opportunity to express itself. A room has individuality 
when it is so lived in that it appears to belong to one person 
or to one family. There are many factors which help to 
make a room livable, and among them perhaps the first two 
are comfort and convenience. Many instances will come to 
mind of families who have moved into fine new houses, and 
after a few weeks of unaccustomed splendor the mother or 





Fic. 212.—Comfort, friendliness, and informality characterize this room. No- 
tice the arrangement above the fireplace; a few objects, well chosen and delight- 
fully balanced, have given a decorative effect to the center of interest in the room. 


the father has fitted up a bedroom, or a room in the base- 
ment or the attic, with some comfortable chairs, books and 
magazines, and a well placed reading lamp, and that room 
is the only place in the house which looks homelike. 

There are several ways to secure the effect of livableness 
which one must know in order to appreciate the homelike 
quality in one’s rooms or to introduce it if it is lacking. 
First, the room must be simple; if it is crowded with furniture 
and small objects it will look confused. If the room is not 
simple enough, everything that is not essential for comfort or 

348 


Interior Design 


necessary to complete the design should be eliminated; 
but it must be remembered that a room is a design, and 
frequently objects which have no practical use are needed to 
bring color or pattern into a particular space. 





Fic. 213.—The convenient grouping of chairs, the small table and lamp near 
by, impart to the room a suggestion of enjoyable evenings. 


Grouping furnishings for convenience. After simplicity 
comes convenience. A woman who says that her house is 
always disarranged after visitors leave unconsciously admits 
poor management in her furniture arrangement. If chairs 
and sofas are grouped for conversation, if lamps are placed 

349 


Art in Every Day Life 


where they are convenient, and if clear passageways are left 
between doorways and the various centers of activity in the 
room, the furniture and lamps will not have to be moved 
about every time they are used. In the average living room 
there should be a place for intimate talk, requiring thought- 
ful grouping of chairs (Figs. 212 and 117); there should be 
places for the members of the family to read, with comforta- 
ble chairs, and convenient, well shaded reading lights. (Figs. 
198 and 213); there may be a place for writing, calling for a 
desk or table, and a good light. It is desirable to place the 
desk away from the conversation group if this is possible 
(Fig. 117). There may be a music group; that, too, should 
be separated from the conversation center and from the 
desk. (See Figs. 89 and 90.) 

Order in furniture arrangement. Having planned the 
various groups for a room, the next step is to arrange them 
in an orderly design. ‘The large pieces of furniture should 
be placed to follow the lines of the room, and to balance each 
other against the four walls. The shape of each piece should 
be in harmony with the wall space against which it is placed, 
so that it will form a pleasing pattern against the back- 
ground. After the larger pieces in these convenient groups 
have been placed so that the room appears balanced, the 
smaller objects may be arranged to relieve bare places. A 
picture or an interesting fabric, a small table or a bowl of 
flowers may add a delightful accent to a space which seems 
too empty. If there are many large bare places in the 
room they are likely to have a chilling influence, and if 
there is very much bisymmetric balance it may look too 
formal. 

The importance of accessories. After the room has been 
furnished to this point the time has come to think about the 
intimacy and the individuality which may be gained through 
the smaller things, such as the books, pictures, and other 
small useful or decorative objects. It is through well chosen 

350 


Interior Design 





accessories that the greatest amount of charm and intimacy 
comes into the home, although, to be sure, much individual- 
ity is expressed in the selection and the grouping of the 
furniture. If the furniture is too pretentious for the family 
or for the social position, or if it is inhospitably placed, 
neither friends nor owners can feel perfectly at home. 





Fria. 214.—Books are very much like people, and will bring a spirit of compan- 
ionship into the home when they are placed so that they are easily accessible. 
Books may also lend a decorative note if they are so arranged that their colors 
form an interesting pattern. 


Arrangement of books. So simple a thing as the arrange- 
ment of books will add to or detract from the beauty of a 
room. (See Fig. 214.) The very plainest books can make a 
beautiful effect in a room if they are grouped according to 
size and color. To do this so that the result may be prac- 
tical as well as beautiful, divide the books according to their 
subject-matter, and then within these groups arrange the 

351 


Art in Every Day Life 


colors and the light and dark books so that they will present 
the appearance of well balanced groups rather than a light 
book here and there, an occasional dark one, and bright ones 
scattered all about. Keeping the lighter books near the top 
and around the center line, for well placed emphasis will help 
to complete an interesting color pattern. 

Books and magazines which are easily accessible will do 
more than anything else to make the living room seem home- 
like. Books are always more inviting if they are placed on 
open shelves instead of being shut off behind glass doors. 
They should be placed so that they are convenient for use, 
and if there are interesting books and magazines on small 
tables in the room, in addition to the generous shelves, it 
will add immeasurably to the enjoyment of the room. Pic- 
tures in the room will also help to give a delightful at- 
mosphere. The selection and the arrangement of pictures 
and other decorative objects are discussed at length in a 
later chapter. In order to secure a satisfying living room 
the objects which are used for decorative purposes should 
be beautiful, and they should be suited to the owners, to 
the room, and to the space in which they are placed. The 
large part which the details play in making a room look 
homelike is seen in Figs. 198, 212, 225, 117, 89, and 90; good 
pictures; flowers, or pussywillows and winter berries when 
fresh flowers are not easily obtained; something to read; a 
work box near by with a bit of sewing; footstools; and a 
few simple, well designed lamps conveniently placed, will 
help to make the room not only comfortable but delightful. 

Color for walls. The appearance of a room can be radically 
changed if the color of the walls is changed. Small dark 
rooms with dark colored walls may be made to seem larger 
and lighter if the walls are changed to a light color, and light 
rooms will appear smaller and darker when the walls are 
darkened. Warm colors will bring cheer and the effect of 
sunshine into north rooms which receive no sun, and cool 

352 


Interior Design 





colors will temper the glare of too much sunshine. Ob- 
viously, then, the size of the room, the number of windows, 
and the direction of the light will very largely influence the 
choice of the colors for the walls. 

Because dull warm colors make a background against 
which any color is seen to advantage, most living rooms will 
look well with backgrounds which are sand color or some 
variation of sand color. The color may be lighter or darker, 
depending upon the size of the room, the number of the 
windows, and the design and number of pieces of furniture. 
The soft, grayish tan may verge toward green, or toward 
yellow-orange, or red-orange, depending upon the exposure. 
If the outstanding color of the furnishings,—particularly the 
rugs and upholstery materials—is distinctly warm or def- 
initely cool, the walls should contain some note of that 
warmth or coolness in order to secure harmony in the entire 
room. White walls may be made to take on warmth or 
coolness by the use of color in window shades and draperies 
through which the light will enter the room. The white 
walls in the room shown in Fig. 1 are beautifully toned by 
the light which passes through the “creamy yellow” shades, 
and all the colors in the room seem to be keyed or harmonized 
by this sunny color. The color of the walls may be quite 
different in rooms which are separated, but those which are 
connected should either have wall colors alike or so slightly 
changed that there is merely an interesting variation rather 
than a decided contrast. 

When the furniture is beautiful in line and in its arrange- 
ment, light walls will emphasize these points; but if the room 
must be rather full, and the pieces are large or not ideal in 
line or proportion, it is well to have the walls of about the 
same value as the furniture, so that the latter will not stand 
out prominently. A comparison of Figs. 192 and 227 will 
show that when the values of the furnishings and the back- 
ground are similar one does not particularly notice the out- 

353 


Art in Every Day Life 


line of each piece, but that when there is contrast of dark 
against light every line stands out. 

Although the designer has much latitude in his selection 
of hues and light and dark values for the living room, he is 
limited in his choice of intensities. Good taste demands that 
background colors be dull—that is, low in intensity—, and 
therefore all wall surfaces should be dull in effect in order 
that the people and the furnishings in the room may be seen 
to good advantage. 3 

Pattern for walls. “Shall we have plain or figured walls?” 
There are many things to consider before this question can be 
satisfactorily answered. First it must be decided whether 
one wishes to use pictures and decorative objects and fabrics 
to supply the pattern for the walls, or to have the decoration 
of the walls supplied by the paper. A room becomes be- 
wildering if too much pattern is used, and, since living room 
walls must form backgrounds for people as well as for fur- 
nishings, the walls should be unobtrusive, and they should 
appear flat. If pictures are to be used the walls should be 
plain, or quite subdued, in order that the details of the pic- | 
tures may be seen. If a picture is to be used on walls which 
show a distinct pattern, it must be very large, and its frame 
or mount needs to be wide enough to set it apart from the 
decorative background. This requires greater space than 
can usually be found in the average home, and so large a 
picture would probably be out of scale with the room. If it 
is decided that there are to be no pictures, and no pattern in 
drapery materials, the walls may supply the decoration. 
Even in these circumstances the design should not be so 
striking that it will disturb the restfulness of the room. 
There is a type of design for wall papers which, in its em- 
phasis, comes midway between the plain surfaces and the 
paper with definite figures. This type is more useful for 
backgrounds than outstanding designs, and may be chosen 
by people who enjoy a slight vibration of color, and a sug- 

354 


Interior Design 





gestion of pattern on the walls, yet at the same time wish to 
use other patterns and pictures in the room. (See the back- 
ground in Fig. 3.) The pattern of a figured wall paper which 
will be generally useful as a background should be in scale 





Fic. 215.—A pattern for wall paper should, first of all, be unobstrusive. It 
should appear to lie flat against the wall, and the design should be conventionalized. 


with the size of the room and its furnishings; it should appear 

to lie flat against the wall, and show no perspective; the 

colors and the lights and darks should show very little con- 

trast; the design should be conventionalized, and so planned 

that it will enable the eye to remain at rest at any spot, and 
3995 


Art in Every Day Life 





not carry it swiftly across diagonal lines or up and down the 
walls. (See Fig. 215.) 

Ceilings. Ceilings should be light so that there will be an 
impression of spaciousness. They should not be white, 
except in white rooms, but keyed to the wall color in order to 
harmonize with it. In other words, the ceiling should show a 
slight suggestion of the dominant color of the walls. Since 
borders carry the eye toward the ceiling and away from the 
centers of interest in the room, they should be avoided, and a 
simple picture molding used as a finish for the ceiling and 
the side walls. The picture molding should be placed against 
the ceiling, unless the room is too high to appear in good 
proportion. In that case one may give the appearance of 
reducing the height of the room by using a “dropped ceiling,” 
placing the molding on a line with the top of the windows, as 
in Fig. 198. | 

Woodwork. The woodwork is a part of the background 
of the room, and it should not be too apparent in line or 
color. Wood which shows conspicuous graining is nearly 
always undesirable, in furniture as well as in standing wood- 
work. If the wood trim has beautiful proportions, and the 
doors and window openings are so placed that a pleasing 
pattern is made against the walls, the trim may be made to 
contrast with the walls; but usually it is better to call very 
little attention to woodwork, and to keep the color and the 
value of the wood a part of the background. 

Floors and rugs. Floors should be dark enough to form a 
good base for the room. If the walls are light, the floors may 
be relatively light, but if the walls are dark the floors should 
be dark. The rugs, too, should be dark enough to appear to 
give the room a solid foundation. If the general color scheme 
of the room and the furnishings is in warm color, the rug 
should suggest warmth, and it should echo the coolness of a 
cool color scheme. Plain rugs always make perfect back- 
grounds, but if a surface pattern is desired the design should 

356 


Interior Design 





be conventionalized;—the surface should be evenly covered, 
and there should be no outstanding spots or medallions; and 
the colors and lights and darks should show very little con- 
trast. (See Fig. 159.) A plain carpet, with not even the 
lines of a border to break up the floor space, will give to a 
room the maximum appearance of size. A plain rug which 


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Fic. 216.—Patterns, as well as rooms, have personality. The pattern of this 
drapery material is feminine in type. 


leaves but a narrow border of wood comes next in this 
effect of increased space, and small rugs make a room look 
smaller. Too many small rugs have a tendency to make a 
floor appear spotty, while the furnishings of the room will be 
unified through the use of one unobtrusive rug. 

Color and design in window draperies. If the walls of a 
room are definitely figured one should select plain draperies. 
Plain materials should also be chosen for rooms with walls 
which are plain or have a comparatively inconspicuous 
pattern, if there are many pictures and much pattern in the 
furniture and rugs in the room. Plain curtains which are 

357 


Art in Every Day Life 








the same color as the walls will seem to become a part of the 
walls, and will enlarge the background. This kind of curtain 
is particularly successful in small rooms with many windows, 
because the greatest possible impression of size is gained. 
In choosing draperies with pattern one should take into 








A. B. 


Fic. 217.—A drapery material which would be appropriate for a man’s room, 
The scale of this design demands a room of larger than average size. 


consideration the size of the room, the general color of the 
furnishings, and the personality that is expressed in the room. 
Designs for drapery material should be judged by the same 
standards that would be applied to any surface pattern. 
The fabric should not appear spotted, but should be well 
covered by the pattern. When drapery material is being 
selected it should be arranged in folds as it will appear at 
358 


Interior Design 





the windows, for frequently designs which look spotted or 
show too much movement when the fabric is flat, “hold 
together”? when they are hung in folds. (See Figs. 217, 218, 
219, and 221.) Inaddition to trying the drapery material in 





Fic. 218.—The vigor of this pattern gives one the impression that the fabric 
might be used in a man’s bedroom. 


folds, it is advisable to hold it against a window to see how 

it will look when the light shines through it. Light coming 

through some fabrics makes the color clearer and more 

luminous, while in other materials the color can not be seen 

because of the weight or the weave of the cloth. Curtains 

which lose their beauty when seen against the light should 
359 


Art in Every Day Life 





be lined so that the light inside the room will make it possible 
to enjoy the design. 

The scale of the pattern should be adapted to the size of 
the room and to the size of the windows. Patterns like 





B. 


Fic. 219.—This type of design should be used only when the fabric is to hang 
in folds. Otherwise, the effect is too spotty to be agreeable. 


Figs. 216 and 221 are suitable for a small room with light - 
pieces of furniture, while Fig. 217 requires a large room. If 
there are many windows in the room the pattern should be 
less striking than if there are one or two. 
The type of design that one should select depends upon 
the general character of the room. If the room is large and 
360 


Interior Design 


very formal, a pattern similar to Fig. 220 would be suitable. 
For an informal room in which the furnishings are simple and 
domestic the design might have the general character of 
Fig. 221. Figs. 222 and 223 show patterns which are quite 





BMP gu 
Fic. 220.—The pattern of this drapery is essentially social, and it would require 
a large formal setting. 


impersonal. Fig. 222 suggests a guest room, end Fig. 223 
calls to mind an informal breakfast room. 

Designs for drapery material should be conventionalized 
in form or color, or in both, and a faithful imitation of 
flowers and birds as in Fig. 224 is in poor taste. Well selected 

361 


Art in Evers Day Life 





window draperies furnish one of the best means for the 
introduction of pattern and color into a room, and a room 
which might otherwise seem too plain may appear well 





Fic. 221.—A well balanced and distributed drapery pattern which is domestic 
in spirit. 


furnished by the addition of interesting draperies. (See 
Fig: 230.) 

The hanging of draperies. It is better design to let the 
draperies hang straight than to loop them back tightly, and 
they should extend to a structural line in the room. (See 
Fig. 18.) An especially good line is created when the cur- 
tains hang to the bottom of the apron, as in Fig. 229, al- 

362 : 


Interior Design 








though it is as consistent to have them come to the sill, as in 
Fig. 198. When an impression of height is desired the cur- 
tains may hang just to escape the floor, as in Fig. 195, but 


aay OR 


¥ 
% 





Fic. 222.—There is an impersonal character to the design of this textile which 
makes it suitable for a man’s room, a woman’s room, or a guest room. 


they should not lie upon the floor because they will catch the 
dust. Curtains may be hung inside the wood trim or out- 
side, depending upon the effect that is desired. They should 
be hung to cover the trim if it is advisable to secure the 
maximum amount of light; if the woodwork is unattractive; 
or if the proportions of the window would be improved by 
the effect of the additional width. Under ordinary condi- 
; 363 


~~ qenuplagie 


a 
. 


Art in Every Day Life 
tions the curtains should be hung inside the trim, for if the 
windows are of good design it is agreeable to see the ar- 


chitectural framework. When curtains are hung inside the 


as ne 





a 


Fra. 223.—The gay modern note expressed here is distinctly impersonal, and 
suggests a breakfast room or a tea-room. 


trim it is well to have them stop at the sill, so that a frame 

may be seen all the way around the windows. When they 

are hung to cover the trim, a better design is made when the 

curtain comes to the bottom of the apron. Whether draperies 
364 





Interior Design 








are made with or without a valance depends upon the 
shape of the windows. Valances tend to make the window 
appear shorter and wider, and they will unify a group of 
windows. (Fig. 229.) If it is desired to make windows 
appear longer the curtains should be long, and the valance 
should be omitted. In most homes the simple gathered or 





Fic. 224.—This design is entirely lacking in character. It is naturalistic rather 
than creative, and typifies the kind of design which should be avoided. 


pleated valance is the best type. (Figs. 229 and 198.) 
Shaped valances are suited to formal rooms, but when they 
are used in modest homes they appear pretentious. 

Glass curtains. Thin curtains, spoken of as glass curtains, 
are necessary in some rooms to secure privacy and to soften 
the light. If they are used they should be similar through- 
out the house, and those of each floor should be alike. The 
glass curtains should harmonize with the general color value 
of the room. White curtains are delightful in rooms with 
light walls and woodwork, but they produce a harsh note in a 

365 


Art in Every Day Life 


dark room. Ecru nets, or the natural linen color of theatrical 
gauze make agreeable glass curtains for dark rooms. The 
most beautiful materials for glass curtains are plain; if 
figured material is used it should have such simple patterns 
as small dots or squares. 

Some of the best known of the appropriate fabrics for glass 
curtains for the average home are voile, marquisette, net, 
and scrim. The materials which are most frequently used 
either for overdraperies or single curtains are cretonne, 
chintz, casement cloth, and pongee. In addition to this 
conventional list there are the following interesting possibil- 
ities in attractive, inexpensive materials: ratiné, cotton 
crépe, unbleached muslin, and cheesecloth, dyed or in nat- 
ural color; linen and cotton crash, gingham, and colored 
chambray. 

While figured over-curtains may supply good color or 
pattern they are not indispensable, for pictures, books, and 
decorative objects will serve the same purpose. If windows 
are numerous It may be desirable to use plain casement cloth 
or pongee at the windows instead of striking pattern, and 
let the view and the objects in the room furnish the em- 
phasis. 

LInghting. Much of the charm of a room depends upon 
successful lighting. The simplest room may take on an air 
of friendliness by the use of well placed and beautifully 
shaded lights, while the most thoughtfully furnished room 
may appear harsh and uninviting if the light is too glaring. 

There are two types of illumination, general and local. 
General illumination, secured through the use of a central 
fixture, is useful when general activities are carried on. How- 
ever, the central light is uninteresting because it does not 
bring about the softening effect to be gained by shadows in 
the room. Concentrated illumination is secured through 
the use of local lights at those places in a room where such 
close work as reading, writing, or sewing is to be done. 

366 


Interior Design 





Lamps should be well distributed so that there may be a 
fairly even light throughout the room. The advantage of 
this type of lighting is that it affords an opportunity for soft 
coloring, and, by throwing parts of the room into shadow, 
gives an air of intimacy and hospitality that can not be 
secured with the uncompromising evenness of a central light. 

Lamps. If it is remembered that the design of a lamp 
should suggest its purpose, all eccentric shapes will be 
avoided. The lamp base should be beautiful in structure, 
and well balanced. Some well designed lamps are seen in 
the rooms in Figs. 1, 89, 90, and 198. The shade should be in 
good proportion to the base, and so shaped that it throws 
the light as far out as may be desired. The use of a white 
lining will add appreciably to the amount of light which is 
reflected. In selecting colors for the lamp shades three 
things must be considered: first, the color effect in the 
room in daylight, for it should fit into the general color 
scheme; second, the color effect in the room at night. The 
lamp light should have a warm, cheerful quality which will 
put a soft glow over the entire room. Hard, bright colors, 
such as red and bright rose, are not pleasing on lamps, and 
they stand out too conspicuously in the room. Soft grayed 
tones of yellow-orange, orange, red-orange, and occasionally a 
dulled old rose, are agreeable colors. Beautiful effects can be 
obtained by putting two or more layers of semi-transparent 
- material of different colors over each other, the outer layer 
to harmonize with the room in daylight, and the inner colors 
to give the beautiful night effects. The third consideration 
is the effect of the color at night upon the people in the room. 
Strong blues, purples, and greens make people look like 
ghosts. If these hues are desired they should be used for a 
thin outer covering, such as georgette, silk voile, etc., with a 
lining of yellow-orange, red-orange, or rose color, so that the 
light will be becoming. In short, the colors selected for lamp 
shades should be subtle, becoming, and in harmony with the 

367 


Art in Every Day Life 


room. The best colors are those which, in themselves, 
suggest the color of light. If several lamps are used in a room 
the colors in the shades should have something in common. 
They need not be alike, but should play along similar tones of 
different hues. 

Furniture. Good furniture will give many years of satis- 
faction, and for that reason ought to be bought deliberately. . 
Every piece of furniture should be well constructed, and 
suited to its purpose and surroundings. If the piece is the 
type in which comfort is a factor, it should be distinctly 
comfortable. Furthermore, furniture ought to be simple 
in its structural and its decorative design. ‘The average 
house of to-day is small, and so it is important to consider 
scale when selecting furniture and furnishings. The small 
house owner can not successfully use the larger, heavier 
pieces of furniture that may look so well in his neighbor’s 
big house, for they will crowd his rooms. 

Selecting furniture for the living room. The living room 
should contain enough comfortable pieces of furniture to 
accommodate each member of the family. It is not necessary 
that furniture be costly to be comfortable, but it must be 
designed to fit the body. Well made overstuffed furniture is 
the most luxurious of all the comfortable pieces, but there 
are other good types. A room will be more beautiful when 
two or three kinds of furniture are used harmoniously than 
when matched pieces are used. One should attempt to 
avoid anything in the living room that will give the impres- 
sion of a “‘set,’’ because it makes the room look commercial 
rather than individual. (See Fig. 68.) Figs. 198, 206, 213, 
and 12 show some typical examples of various designs and 
sizes of good overstuffed chairs, and it will be seen that it is 
possible to find a chair which will be in scale with the size 
of any room and its furnishings. No couch or chair should 
be so deep and soft that a person will appear awkward when 
seated, or will have difficulty in arising from it. Another 

368 


Interior Design 








type of comfortable chair is the one which is partially up- 
holstered. One of these is seen at the right of the fireplace in 
Fig. 206. This is lighter in scale than the overstuffed chair, 
and is a good type to choose in order to avoid too much 
bulk. 

Less expensive but no less comfortable are the simple, well 
made reed or willow chairs. (See Figs. 197, 212, and 89.) 
These chairs will combine well with almost any furniture 
that is not formal or pretentious, and they may be finished 
with an oil stain or with enamel so that they will fit into any 
decorative scheme. Seat cushions and pads at the back of 
the chair offer an opportunity to use interesting color and 
pattern. 

Many comfortable chairs are made entirely of wood or of 
wood with rush, cane, or upholstered seats. These may be 
found in designs which will be suitable in any kind of room. 
For example, Windsor chairs are comfortable, informal, and 
pleasing in line. (Figs. 1 and 197.) These are made in 
nearly all woods, and may havea cushion in the seat if desired. 
The ladder back chair with a rush seat is another interesting 
type that is suitable for the informal room. (Fig. 23.) In 
most living rooms one would enjoy having at least one low 
chair of a comfortable height for sewing, and it should be so 
placed that the light will be good in the daytime and at 
night. 

A couch of some sort adds much to the comfort of th 
living room, and if it is to add also to the appearance of the 
room, it must be of good design. Large rooms will ac- 
commodate big upholstered davenports like the one in 
Fig. 91, but the smaller rooms should have sofas which are 
smaller in scale. It is wise economy to get a well made 
davenport in a temporary covering, such as denim, rather 
than to pay the same amount for one which is poorly con- 
structed but covered with expensive material. ‘Temporary 

covers may be found in good colors and designs to fit into 
369 


Art in Every Day Life 


any furnishing scheme save a very elaborate one. There are 
many satisfactory substitutes for the large upholstered 
davenport. The willow day beds and davenports are 
comfortable and attractive; and even cheaper than these 
is the cot, which may be covered with denim or some other 
suitable material. Fig. 225 shows a cot with fitted covers 





‘ i ; : By : 





Fic. 225.—This offers a suggestion for a dormitory room, or for any combination 
living and sleeping room. The materials used are of minimum cost, yet the effect 
is homelike. The careful choice of the simple furniture and the inexpensive dec- 
orative details have given individuality to the room. It is interesting to note that 
a few of the books and magazines which one is reading, so arranged that their 
colors make a pattern which is pleasing to the eye, may bring as decorative a note 
into the room as a picture, or some other purely decorative object. 


which slip over the ends, and cushions of the same material 
as the upholstery. This room shows what can be done with 
an exceedingly small expenditure of money. It has the essen- 
tials of a good living room,—simplicity and comfort. 

Modern furniture is largely adapted from Italian, French, 
and English models. The Italian and French styles are very 
formal, and are suitable only for rich and formal houses. The 
English styles and the American Colonial styles, which were 
adapted from them, are unpretentious and are particularly 
appropriate for the American home. 

370 


Interior Design 








The home maker should not be so much interested in’ 
securing an authentic period style, or a room in which all the 
pieces are historically correct, as in furniture which is beauti- 
ful in design and which combines well in size and texture 
with the other pieces in the room. Too much of any one 
kind of furniture in a room is undesirable. If all the pieces 
are overstuffed the room seems overpowering; the presence of 
too much wooden furniture produces an effect which is cold 
and hard; and if the living room is furnished entirely in wil- 
low it will look monotonous and seem to lack stability. 

After the room has been successfully furnished to the point 
of having backgrounds that are good and furniture that is 
comfortable, suitable, and beautiful in line and color, the 
owner should bring into it the things that he particularly 
enjoys handling or looking at, provided they are good in 
design. Using one’s favorite colors in a textile, flowers, 
pieces of pottery, or candles; having the magazines and 
books that one is reading, or likely to read, on convenient 
tables,—these are some of the ways of making a room home- 
like. 

The dining room. 'The character of the furnishings for the 
dining room depends somewhat upon where the room is 
located. If it is a separate room, the traditional dining room 
furniture, consisting of the table, chairs, sideboard, and 
serving table may be used; but if the room is a dining alcove 
adjoining the living room, or is actually a part of the living 
room, it is more interesting to use less conventional pieces— 
a highboy or a chest of drawers, for example, and a gateleg 
or drop-leaf table. No matter how informal a home may be, 
there is always a certain amount of ceremony in the dining 
room, and because of the nature of the service of meals, the 
room calls for a dignified treatment. ; 

The average person wishes to have a restful time at meals, 
and it is difficult to do this in a room which does not look 
restful. If there are many objects and much pattern in the 

371 


Art in Every Day Life 


room it will look confusing; and when. the large number of 
pieces of silver, china, and glass which make up the table 
service are brought in they will increase the unrest. The 
first thing to do, then, in order to obtain a restful dining 
room is to keep the background simple; second, to display 
very few objects; and third, to place the table appointments 





Fie. 226.—This room is everything that a dining room should not be. It is 
restless and distracting. It shows that the owner has a mistaken sense of beauty, 
and has had no opportunity to train her taste. 


in an orderly arrangement at meals. On the other hand, 
there are some people who desire a stimulating rather than a 
restful dining room and who enjoy patterned walls. If one 
wishes to use figured wall paper it is better to use it in the 
dining room than in the living room, for the dining room is 
not used for so long a period; and, furthermore, one may more 
easily dispense with other decorative objects in this room, 
and be content to let the walls themselves supply the decora- 
tion. 
372 


Interior Design 





The dining rooms shown in Figs. 226 and 227 afford ‘an 
interesting comparison. These are typical of the separate 
dining room; the same type of furniture is used in both,— 
pedestal table and splat back chairs; and there are color and 
pattern in the rugs. But what a difference there is in the 
quality of the rooms! Fig. 226 is everything that a dining 





Fic. 227.—There is beauty in this dining room, and a simplicity which makes 
it a very pleasant, restful place in which to eat. 


room should not be. Starting with the background of the 
room, one sees at a glance that the wall is so conspicuous 
that it stands out as the most emphatic thing in the room. 
If it had been necessary to keep this paneling on the walls the 
effect in the room might have been improved by using darker 
paper. The walls would then have seemed a unit, and would 
have taken their place as a background. The rug, too, is a 
poor background because it has too much contrast in light 
373 


Art in Every Day Life 








and dark. The central light fixture is ugly in design; and the 
choice and arrangement of the furnishings show poor taste. 
The whole room bears the mark of ostentation, as indicated 
by the placing of the round doily, hanging down over the 
sideboard, and the display of glassware and china on the 
plate rail and sideboard. To say that plate rails can not be 
used successfully is not quite true, but they very seldom are. 
Unless a room is so high that there seems to be need for a 
horizontal line to break the unusual height it is better to 
omit the plate rail. If there is a plate rail in the room it is 
best to consider it as an architectural feature, and keep it 
free from china, pictures, and other objects. Occasionally 
one sees a room in which a very few decorative and unusually 
interesting objects have been used with success. For exam- 
ple, a pair of pewter plates, or a piece or two of brass or 
copper, may break up a wall space that seems too empty, and 
they may add a pleasant line or a note of color. A plate ora 
pair of plates of fine art quality, conventionalized in design, 
and of colors that harmonize with the room, may sometimes 
be placed upon the plate rail in order to balance the colors 
in the window draperies, or some other color in the room. 
Never should an array of china and bric-a-brac be displayed 
on the plate rail. In this example (Fig. 226) there are 
naturalistic designs of fish and flowers on the china; these 
are in bad taste, as is the quantity which has been displayed. 
The white linen cloths on the dark wood make too harsh a_ 
contrast in the room, and, with the exception of the runner, 
which follows the lines of the sideboard, they are badly 
placed. A darker cloth placed upon the table between meals 
would be more harmonious in the room. In addition to the 
strong value contrast the table cover contradicts the lines 
of the table and the lines of the room. ; 

In Fig. 227 the room is so simple and so well designed 
architecturally that it makes a perfect background. The 
room is cream-white with mahogany furniture, and it has 

374A 


Interior Design 





SSS x 





Fic. 228.—The atmosphere of dignity in this room is largely due to the use of 
the paneled walls and the formal furniture and lighting fixture. 


375 





Art in Every Day Life 





received a decorative addition of color and pattern from 
some blue, green, and dull orange figures in the ivory-colored 
chintz draperies; from the bright green candles in brass 
candlesticks; and from a beautifully colored clock over the 
side table. Compare the furniture in these two rooms, and 
note that while the designs are similar in type, Fig. 227 has 
much more graceful lines. A pedestal table needs a strong 
base, but it need not be so heavy that it looks clumsy. 





Fic. 229.—The general effect of this room is domestic, yet there is a suggestion 
of formality due to the bisymmetric arrangement of the furnishings. An appear- 
ance of added height has been given to this low-ceilinged room through the vertical 
lines in the chairs and the panel on the wall. The use of two rugs so placed that the 
eye travels across the narrow dimension of the room has helped to add to its ap- 
parent width. 


Dining rooms of the traditional type are shown in Figs. 
228, 227, 229, 230, and 231. The rooms placed in this order 
show a gradation from formality to informality, and a 
comparison of their furnishings will demonstrate that the 
character of a room is determined not alone by its furniture 
and accessories, but also by the way in which these are ar- 
ranged. The stateliness of the Renaissance furniture and 
the electric fixture have made Fig. 228 a formal room. There 

376 


Interior Design 


is formality in Fig. 227, too, but of a different sort. It is 
lighter, and less severe. The furnishings are not so imposing, 
and although they could be used in a handsome home, they 
are not inconsistent in a small, unpretentious house, such as 
this. | 
Although all the furniture in Figs. 229, 230, and 231 is 
of the cottage type, there is the impression of a little more 





Fia. 230.—The charm of this room is due to its restraint. There is a beauty 
here that never comes with over-decoration. The plain walls bring out the lines 
of the furniture, and the delicacy of the Japanese print. They also emphasize the 
color and pattern in the draperies, the bow] of flowers, and the braided rug. 


formality in Fig. 229 than is seen in Figs. 230 and 231. This 
is due to some extent to the lines of the tall straight chairs, 
but even more to the symmetrical placing of the group at the 
right. In Fig. 230 the dignified yet unpretending Windsor 
chairs, the gateleg table, and the rag rug create a frankly. 
unceremonious room. An individual, attractive room has 
been created in Fig. 231 at an exceedingly small cost. This 
317 





Art in Every Day Life 





room offers a suggestion to the young home maker who has 
high standards of taste and limited means. Instead of 
compromising on all of her furniture, she might do as the 





Fic. 231.—Good pictures, well hung, and interesting decorative accessories 
have given individuality to this simple dining room. 


young owner of this room did. She bought the table she 

wanted, and made it the nucleus of her permanent dining 

room set. She then selected the most inexpensive chairs and 
sie! 


Ta 


Interior Design 





rug which were good in design and color, and expects some 
day to complete her “air-drawn” room. In the meantime 
the pictures and decorative objects, which are beautiful and 
attractively placed, help to make a gratifying room. 

The dining alcove which opens into the living room should, 
if possible, have furniture which will harmonize with the 





Fic. 232.—This homelike group offers an interesting suggestion for the treat- 
ment of a dining alcove at one end of the living room. 


living room. Fig. 232 shows an alcove which adjoins a living 
room. ‘The chest of drawers is far more acceptable in this 
room than any sideboard could be. Such chests not only are 
attractive in a dining room, but they are useful because of the 
large amount of storage space which they afford. When 
one is able to place a table against the wall, as in this in- 
stance, it makes the room seem less like a dining room than 
when it is in the center of the room, and it affords the added 
enjoyment of a view of the out-of-doors. 

Figs. 192 and 199 are dining room ends of living rooms. 

379 


Art in Every Day Life 


In Fig. 192 there is less to remind one of the fact that meals 
are served here than there is in Fig. 199. The latter example 
(which, by the way, is the end of the room in Fig. 198) is 
quite frankly a dining room, yet it is not too obviously so. 
This room is a particularly good example of the combination 
of living and dining areas, because the furniture is suitable 
for either purpose. This point should be considered when 
one is selecting such furniture. A sideboard of the conven- 
tional type would mar a room of this sort. A china cabinet 
is used here, but it is not of the ordinary commercial type. 
The service dishes are behind the curtains in the lower part 
of the cabinet, while the upper part is treated as a design. 
The dishes and the brass have been selected for their beauty, 
and they have been arranged to make a decorative design. 
Unless one has some unusually decorative pieces of china 
and brass, and a knowledge of design, as in this instance, It is 
advisable to keep dishes concealed. A secretary is attractive 
as well as useful for the living-room dining-room combination, 
for linens and silver can be put into its drawers, while it sup- 
plies a writing desk and a ease for books. (See Fig. 134.) If 
curtains are placed behind the glass doors china and glass 
may be stored there. 

The breakfast room may have a gayer character than the 
dining room. Fig. 203, with its painted furniture, suggests 
the kind of room that would be agreeable in the morning, for 
there is a colorful freshness about it. Note that there are two 
drop-leaf tables in this room. One is used ordinarily as a 
side-table, but when it is desired to seat a larger number of 
people than one table will accommodate, the second is added 
to it. 

Although a dining room ought to be simple, it should not 
be monotonous. In order to prevent its formality from 
being austere, the room may be enlivened through the use 
of some decorative note such as may come from the use of 
positive or dramatic colors, lights and darks, or shapes; or 

380 


Interior Design 


from a combination of these. In the dining rooms shown 
here, this positive note which helps to make for “decorative 
quality’ has been secured in various ways. In Fig. 228 it 
comes very largely through color contrast. The background 
colors in the room, as seen in the taupe rug and the oak 
paneling, are subdued. The contrast appears in the table 
mat and the chair seats, which are of greenish-blue; in the 
bowl of fruit on the table; in the Chinese bowl with bitter- 
sweet; and in the brass samovar on the ledge. 

In Fig. 227 the decorative quality is the result of dark, 
clear cut, beautiful shapes silhouetted against a plain back- 
ground; the colors, too, are decorative, for the rug is black 
and gray, with a note of sharp green which is echoed in the 
candles; and the draperies repeat the gray, black, and green, 
with an additional spotting of dull blue and yellow-orange. 
While this room has accented shapes, colors, and values, 
Fig. 229 emphasizes but two of these factors,—shape and 
color. The values are very much alike, and for that reason 
the effect of this room (Fig. 229) is less striking than the one 
which shows stronger value contrast. ‘The line of the chairs 
makes an interesting pattern against the walls which are of 
sand color; the draperies have an ecru ground with figures 
of dull blue and several tones of soft, dull violet and reddish 
violet. The colors of the draperies are echoed in the blue 
hawthorne jars and the embroidered panel over the side 
table. Dashes of jade green in this panel add piquancy to 
the color scheme. 

Lighting the dining room. Since the table is the center 
of interest in the dining room, the most successful type 
of lighting is that which concentrates the light upon the 
table. In the dining room it is rarely necessary to have a 
general illumination, and so a ceiling fixture, or one which 
throws the light against the ceiling, is unnecessary. Ceiling 
fixtures also give a less agreeable light than those which 
hang down over the table. With a fixture which throws 

381 


Art in Every Day Life 





the light down, one is enabled to secure the homelike effect 
which comes from shadows and half-tones in the room. 
Care must be taken in placing the dining room fixture, for 
the light must not shine into the eyes of the people at the 
table, and the height must be so adjusted that the entire 
table will be well lighted. 

Candles furnish the most delightful light for the dining 
room table, for they not only concentrate the light, and 
produce the most interesting reflections and shadows, but 
they have the effect of seeming to make the table a more 
intimate center. 

The dining room, as well as the living room, needs simplic- 
ity in order to insure restfulness; sufficient harmony for 
unity, with variety enough to stimulate conversation; and a 
happy mean between formality and informality in order that 
an impression of dignity and hospitality may result. Because 
the dining room is used for a shorter period than the living 
room, it may receive a more striking treatment in line and 
color, but it should not be eccentric, for it must harmonize. 
with the spirit of the entire house. In its relation to the rest 
of the house, the dining room may give the impression of 
being the accented note in an harmonious scheme. 

The bedroom. The function of the bedroom is to promote 
rest. Since it is difficult to relax in a room that seems 
crowded with furnishings or with pattern, the bedroom 
should be simple; but unless there is a note of vitality in it 
‘the room will appear dull and spiritless. Vitality should be 
expressed in terms of the owner’s individuality, for the 
bedroom is the most intimate room in the house, and may, 
therefore, be the most personal. This emphasis may be 
obtained through the use of line, color, or pattern, but it 
must not be too forceful or the room will become tiring. This 
is illustrated in Fig. 233 where there is so much emphasis in 
the designs on the walls, rugs, and draperies that rest is dis- 
couraged rather than promoted. The owner’s fondness for 

382 


Interior Design 


color and pattern could still have been gratified if a plainer 
rug and plain or inconspicuously figured walls had been 
used. The border on these walls has a tendency to carry the 
eye toward the ceiling and away from the center of interest 
inthe room. Therefore it would be better to omit the border, 








Fie. 233.—Such distracting pattern has been used in the walls and rug in this 
room that they fail to make a good background for the furniture. 


and to use a simple picture molding between the ceiling and 
the side wall. 

It is preferable to have the bedroom walls of some light 
neutral tone, as ivory, or warm light gray, than to have them 
of a definite color. Even though a blue or a yellow, for 
example, is pleasing, one would tire of an entire room of it. 
A more desirable way to use one’s favorite colors is in the 
details of the room,—in pictures, drapery, and upholstery 
fabrics, and, if desired on the walls, in a pattern printed on 

383 


Art in Every Day Life 





neutral ground. A bedroom which shows a variety of 
harmonious colors is more pleasing than one which is all one 
color. However, as in all beautifully colored rooms, there 
should be a preponderance of one color, such as a leading 
note of cool bluish tones, or of warm yellowish tones, which 
runs through the entire room and unifies the scheme. Light 
colors are preferable to dark colors for bedrooms, but if 





Fic. 234.—A sense of quiet and comfort combine to make this bedroom a picture 


of what a bedroom ought to be. The inconspicuous two-toned stripe of the paper 
creates a restful background for the good etchings and the interesting furniture. 


walls, rugs, and all the furnishings are light the room will be 
flat and characterless. Therefore it is as effective to intro- 
duce some contrasting values as it is desirable to use a variety 
of hues. There is sufficient value contrast in a room if the 
furniture is of a dark wood, as mahogany or walnut; but if 
the furniture is light, value contrast must be supplied in the 
accessories, as in the pattern of the draperies or seat covers. 

Turn to Figs. 233 and 234, and note the difference in 
these rooms, which have so many similarities. Mahogany 
furniture of the Colonial type, striped walls, pictures, and 

384 


Interior Design 





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385 


Art in Every Day Life 


decided pattern are used in both rooms. Yet Fig. 234 is a 
good bedroom, while Fig. 233 is not. The striped paper in 
Fig. 234 is so unobtrusive that the beautiful etchings and the 
interesting lines of the furniture can be thoroughly enjoyed 
against it. Pattern and color accent are provided in the 
patchwork quilt of blue and white. 

In general, bedroom furniture should be simple in design, 
and individual. If it is severely plain it must receive all of 
its distinction from beautiful lines and from fine proportions. 
However, it need not be severely plain. A beautiful struc- 
ture may receive added distinction from the use of a choice 
bit of carving or turning. The conventional bedroom set of 
beds, bureau or chiffonier, and dressing table, all alike, is 
apt to be less attractive than a combination of separate 
pieces which have enough in common to appear well to- 
gether, yet are different. (See Figs. 235 and 236.) If the 
room contains unmatched furniture which is of restrained 
design, it is possible to use a single piece which has as much 
turning as the cradle in Fig. 234, or the spindle bed in Fig. 
190. ‘These designs are delightful when they are used as an 
accent, but it is obvious that they would lose their charm if 
the same striking design were repeated many times. More 
interest may be afforded in the bedroom if a chest of drawers 
with a mirror above it is used instead of the conventional 
bureau with its mirror on upright supports. These chests 
may be found in a wide variety of designs, to harmonize with 
different types of rooms. (Figs. 194, 195, 234, 235, and 236.) 
Bedroom furniture should be in scale with the room, and it is 
always desirable to avoid either extreme of massiveness or of 
unsubstantiality. There should be something individual 
yet not eccentric about the design which is chosen, to raise 
it above the commonplace. A _ graceful line; excellent 
proportions; fine carving; or a few good curves upon a simple 
structure, may give distinction to a piece of furniture. 

Since the bedroom is distinctly personal it may express its 

386 


Interior Design 





occupant even more intimately than any other room in the 
house. The photographs and the special pictures which are 
characteristic of the owner and his taste, yet which seem too 
personal to be placed in the more public rooms of a house 
have their place in the bedroom. However, when one room 
is to be used as a combination of living room and sleeping 





Fic. 237.—In this child’s room a happy medium has been struck between drab 
dullness and the over-decorated nursery which excites a child. Here are soft 
colors, a restful background, a moderate amount of entertaining pattern, and a 
place for play. A noteworthy feature of the room is a cupboard at one end in 
which toys are put at bedtime. 


room, there needs to be more of the impersonal aspect of a 
living room. Fig. 225 suggests the type of room which 
combines these two functions. In this combination room 
the day-bed or cot should have a dark cover, while in a 
bedroom a light counterpane would be appropriate. White 
would seem as much out of place in this type of room as 
would the conventional bedroom furniture. A highboy, if 
the room is large enough, or a chest of drawers similar to 
387 


Art in Every Day Life 





those in Figs. 92 and 236, will help to solve attractively the 
perplexing question of how to secure adequate storage space. 

The guest room is a second type of bedroom which should 
be impersonal, since it is a room in which anyone should feel 
at home. There should be no personal photographs in the 
room, and if any pictures are used they should make a general 
appeal. The spirit of hospitality is one of the finest attri- 
butes of a home. If it could be analyzed, it would be found 
to be the result of an aggregate of details, and among them, 
standing prominently forth, a genuine pleasure in the com- 
pany of other people and consideration for their comfort. 
The home maker is able to show her desire to make her 
guests comfortable by anticipating their wants when she 
furnishes her guest room. Therefore the guest room should, 
if possible, contain the following things in addition to such 
necessities as a comfortable bed, a well lighted mirror, and 
sufficient storage space: a table or a desk on which one 
may write; a supply of stationery with pen and ink; a well 
equipped work box; a waste basket; a bedside table with 
a good reading lamp; books of general appeal; and a com- 
fortable chair. | 

Under the topic of masculine and feminine qualities, on 
page 323, the general characteristics of the man’s room, the 
woman’s room and the guest room are discussed. There 
still remains the child’s room. Two universally accepted 
judgments of men of science which have an important 
bearing upon this problem are: 

(1) That environment has a strong influence upon mental 


and physical well-being, and upon the development of 
taste. 


(2) That in the first six years of life mental and physical 
habits become so fixed that it is difficult to change them. 
If these two ideas are kept in mind when children’s rooms 
are being furnished, their rooms will be places where the 
child will be stimulated to a wholesome degree, but not ex- 
388 


Interior Design 


cited. The room shown in Fig. 237 has many features worth 
considering. The colors are beautiful. The walls are a light 
grayish yellow; the background of the furniture is of a gray 
which has a yellowish tone, with bright blue, grayish green, 
and a note of black in the decoration; the curtains have a 
cream ground, and a gay little pattern of blue, green, and a 
sparkle of orange and red-orange. There always are two 
good pictures in the room, and these are changed at intervals 
so that the child may know and learn to enjoy many good 
pictures. These pictures are adapted to the age of the child, 
and they are kept out until they have become familiar, but 
not so long that the child will cease to notice them. There 
are cupboards and drawers for toys, and the toys are put 
away before bed time so that the room will appear restful, 
and there will be no temptation to shorten the nap in order to 
play. The soft background colors in the room are quiet in 
effect, as suits a bedroom, and during play hours there are 
plenty of bright colors in the toys which are brought out. 

In addition to the considerations which have been de- 
scribed as applying to special types of bedroom, there are 
certain requirements which hold for all types. A good bed- 
room contains but few things, and those show good taste. 
Its furniture is convenient for use, and balanced in arrange- 
ment; the bed is placed where there will be enough fresh 
air, but where the light will not shine into the eyes of the 
_ sleeper; mirrors are so placed that a person standing in front 
of them will be well lighted in the daytime and at night. 
And, in addition, the room is thoroughly comfortable. 


389 


CHAPTER XX 


INTERIOR DESIGN—(Continued.) 
Ill. MAKING THE BEST OF ONE’S POSSESSIONS 





= 


Fic. 238.—A type of architectural background which is commonly found in 
rented houses. The confusing effect of this background has not been helped by the 
profusion of objects displayed. 


The person who can build the sort of house that he likes, 
and furnish it as he pleases, is fortunate indeed. Most of us 
are forced to compromise, and to make the best of what we 
have. There are three remedies for the “decorative mis- 
haps” that may have occurred through inheritance or be- 
cause of unwise purchases. These are: (1) elimination, 
(2) rearrangement, and (3) concealment. 


Elimination is the first measure. Each object in a room 
should be judged practically. If it does not add to the 
390 


Interior Design 





beauty or to the comfort of the room it should be discarded. 
Even after this has been done there may be too many things 
for the size of the room. This will require an additional 
sifting out. 


Rearrangement is the next step. Order is the first require- 
ment for beauty, and what can be accomplished through 
arrangement is illustrated in Figs. 22 and 23, and discussed 





Fie. 239.—This picture aims to show what concealment, re-arrangement, and 
elimination can do for a room. Portieres have been used to cover the bookcases 
and columns in Fic. 238, and they have served to extend the wall space which was 

_ too small to accommodate a piece of furniture; the desk and rug have been placed 
to harmonize with the lines of the room; the window and mirror over the built-in 
buffet have been covered with an inconspicuous textile which harmonizes with 
the woodwork; the fussy and inappropriate decorations have been removed, and 
a single decorative arrangement has been substituted. These changes have sim- 
plified the agitated-looking room, and have made it restful. 


under the topic of orderly arrangement, or “Shape Har- 
mony.” 3 
Concealment is the last measure. After all the unessentials 
have been eliminated and the room has been well arranged, 
some unsightly objects, necessary for comfort, may remain. 
Then the problem of hiding their deficiencies is met. 
391 


Art in Every Day Life 





Some problems necessitate all three measures. Figs. 238 
and 240 show the kind of room that is too frequently seen in 
small houses and apartments. The principles of proportion 
and emphasis are violated here. There is so much built-in 
equipment as compared with the size of the room that the 
amount of wood becomes oppressive. This small dining 





Fic. 240.—Another view of the dining room in Fig. 238, showing the misuse of 
a plate rail, and poor treatment of the sideboard and table, 


room has a beamed ceiling, a plate rail with panels below it, 
and an elaborate built-in buffet. Between the rooms are 
built-in bookcases upon which rest heavy, badly propor- 
tioned pillars. Lines of wood on the bookcase doors are so 
emphatic that they detract from the appearance of the 
books. The built-in sideboard is too elaborate in its design. 
The house in Fig. 238 is not owned by the occupants, so the 
built-in sideboard, the built-in bookeases, and the pillars 
must remain, and the occupants must make the best use 
they can of them. 

There are other mistakes in this room besides the archi- 

392 


Interior Design 





tectural defects. Good taste demands the elimination of 
most of the objects which have been placed on the side- 
board, and all that are on the plate rail. Because there is so 
much emphasis in the background of this room there should 





Fic. 241.—Here the plate rai in Fic. 240 has been cleared of its meaningless 
decoration, and has become a part of the architectural background of the room; 
a consistent number of harmonious objects have been placed upon the sideboard; 
a rep cover which fits the table and harmonizes with the color scheme takes the 
place of the white doily, which was too small, too light for the room, and badly 
placed; and the little vase has been replaced by some fruit in a blue-green bowl, 
which is large enough to be in scale with the table. 


be fewer decorative objects than can successfully be used in a 
room where the background is simple. The vase on the 


table should be removed because it is too small for the table, 
393 


Art in Every Day Life 





and the doily, because it is too small, too light, and not an 
harmonious shape. This room is dark, and the white electric 
globes stand out too prominently against the dark oak of 
the sideboard. In Fig. 239, which shows a rearrangement of 





Fic. 242.—A convenient, attractive arrangement for a study table is seen here, 
and a suggestion for the treatment of an unsightly radiator. 


this room, the white globes are replaced by others which are 

dark enough to harmonize rather than contrast with the 

wood. The four globes hanging from the central light fixture 

made this fixture seem too large to be in scale with the small 

room. Frosted glass bulbs help to reduce the size. The 
394 


Interior Design 





white curtains were too light in the dark room, and so they 
were dyed. The small white doily was replaced by a colored 
cover which is a better size for the table. The mirror and the 
window of the built-in sideboard were covered with strips 
of a fabric on which appears a faint pattern in indefinite 
colors. The fabric harmonizes in color with the oak, and 
makes an inconspicuous background. Then portiéres, which 





OE s é 


Fic. 243.—Here the ugliness of a sofa like the one shown in Fic. 244 has been 
concealed by a denim cover. The furniture, which is sturdy yet reasonably light 
in scale, and the simple accessories, give an inviting appearance to this room 
where girls come to study. 


are full enough to be drawn across the entire opening when 
it is desired, were hung over the offending bookcases and 
pillars. While these portiéres are velvet, any inexpensive 
material which harmonizes with the room in color and texture 
could have been used. The rugs were laid straight to har- 
monize with the lines of the room. To add color, brass 
candlesticks and a black vase with bittersweet were placed 
on the buffet, and a blue-green Chinese bowl with fruit on 
the table. 
395 


Art in Every Day Life 


In this process of elimination it is often necessary to use a 
saw in order to make ugly furniture presentable. In its 
original state the sideboard in Fig. 241 was a shiny golden 
oak. It had a carved back with a mirror and two shelves, 
and there were fussy brass handles on the drawers. It was a 
simple matter to remove the ornate back and to put on this 
plain one; then to take off the varnish and to fill and stain 





Fic. 244.—Furniture need not be so large as this in order to be strongly built. 
The scale of these pieces, the leather upholstery and the ugly lines of the furniture 
give to this room the effect of a dreary institution. 


the wood the soft color of antique oak. It was then shel- 
lacked and waxed, and wooden knobs were substituted for 
the brass handles. In just the way that this sideboard was 
simplified, a fireplace may have an ornate mantel removed, 
and an over-decorated bureau may have the top taken off, 
the mirror placed in a simple frame, and hung above it. 
Frequently a radiator is an unsightly object in the room, 
and sometimes it is possible not only to conceal it, but to 
396 


ell 


Interior Design 





make it attractive. This was accomplished in the room 
shown in Fig. 242, where the tall radiator came just behind 
the study table and detracted from its appearance. A 
coarse cover which harmonized with the wall made the 
radiator less conspicuous, while a tray and bowl of bitter- 
sweet, which could not be injured by the heat, contributed a 
note of colorful interest to the entire group. 

Fig. 243 is a classroom which was assigned to a girls’ 
organization for a reading room. These girls had a very 
limited budget, and were reluctant to refuse the gift of a 
bright red and green carpet and the clumsy leather covered 
sofa shown in Fig. 244. They knew that the effect of their 
room would be spoiled unless something were done with 
these things, and so they had the carpet dyed brown, which 
harmonized the bright red and green figures and made an 
inconspicuous rug. They concealed the sofa by making a 
slip cover of brown and tan striped denim; and then they 
made some copper colored silk shades to cover the saucer- 
like white glass shades and the electric bulbs. Many un- 
sightly couches and overstuffed chairs can be made to be- 
come decorative assets in the room by the use of slip covers 
of materials and colors which harmonize with the room. 
Furniture which is as clumsy and ill-shaped as the chairs 
in Fig. 244 should be discarded as soon as practicable. In 
the meantime these chairs should be placed in the darkest, 
most unobtrusive positions so that they will not loom large 
in the room. Small objects should not be placed near them, 
for a contrast in scale will make clumsy furniture look more 
ungainly than ever. A shawl of good color, folded and put 
over the back and seat of an ugly chair will sometimes help 
to conceal its defects. 

Besides elimination, rearrangement, and concealment, one 
can manipulate lines and colors in such a way that remark- 
able changes may be effected. Rooms and windows which 
are too square may be made to resemble oblongs through the 

397 


Art in Every Day Life 


use of a decided line movement in one direction; oblongs 
which are too long may be made to appear shorter by using 
lines which repeat, and thus emphasize the short side. Ob- 
jects may be emphasized or suppressed at will by the way in 
which they are placed in the room; and by means of the 
colors used in the backgrounds against which they are seen, 
and in the objects around them. When one must make the 
best of what one has, the ability to use color well, and to 
apply the principles of art is of inestimable value. 


398 


CHAPTER XXI 
INTERIOR DESIGN (Continued) 
IV. THE SELECTION AND ARRANGEMENT OF PICTURES a 


The appeal of a picture. Pictures make their appeal to 
individuals through their story, their beauty of line, the 
quality of their color, or through the interest of their pattern. 
- It is only after we have learned to appreciate line, color, and 
pattern for their own sake that we realize that a picture does 
not need to tell a story; that the appeal of art, as compared 
with literature, is its appeal to the sight as well as to the 
imagination, while literature appeals to the imagination 
only. Many people are inclined to attach too much impor- 
tance to the story which a picture tells. This may be the 
result of early training, for children, before they can read, 
are taught words and facts through their use. A picture 
may, however, be of literary interest, provided that it also 
has the characteristic art qualities—beautiful drawing, 
fine color, and pattern. An artist should never attempt to 
imitate nature. His picture should be an interpretation 
rather than a literal representation of a subject. The 
~ camera can produce more accurate representations of nature 
than the artist ever can, and a story can be told better 
through the medium of literature or the drama than by 
means of line and color. Therefore, painting is put to its 
best use when the artist so interprets his theme in line and 
color that the person who looks at the picture receives the 
same impression of the character of the subject that the 
artist felt. 

Since pictures should be interpretations, the individuality 
of the artist is far more important than his technical skill. 

399 


Art in Every Day Life 








Pictures are great in the degree that their painters are great, 
spiritually or inteliectually. In selecting a picture, one’s 
first concern should be for the individuality which it ex- 
presses. What was the artist’s appreciation of beauty, and 
his capacity for sympathy? Was he sincere? These attri- 
butes in addition to technical skill, are the essential qualifi- 





Fic. 245.—TxHE VirGIn anp CuiLp, by Pinturicchio. (Courtesy of Anderson, 
Rome.) 

The delightful pattern of this picture is the result of a carefully arranged plan, 
and its interpretation shows the sincerity and the love of beauty seen in so many 
paintings of the early Renaissance. 


cations for the artist, if his work is to have beauty instead of 
prettiness,—sentiment instead of sentimentality. 

The composition of a picture. All pictures have a compost- 
tion or design. Sometimes the plan of the composition 
stands out prominently, like a framework, but oftentimes it 
is so obscured that the casual glance does not reveal the 

400 


~~ 


Interior Design 





outline upon which the picture was built. If the framework 
is badly designed the picture appears to lack organization, 
while if it is so concealed that it can not be traced the picture 
seems structureless. 

In Pinturicchio’s “Virgin and Child,” Fig. 245, the plan 








Fic. 246.—Japanese print by Toyokuni. The dramatic use of pattern and color 
have given decorative quality to this picture. It adds to the enjoyment of Japanese 
prints when one rertnembers that the artists conventionalized their forms and their 
colors, and that they thought of their figure studies as designs rather than as 
photographic representations of individuals. 


of the composition is very evident. The framework is a 

combination of the circle and the triangle. The triangle, 

formed by the figures of the Madonna and the Child, has 
401 


Art in Every Day Life 





been harmonized with the circle through the curved lines in 
the figures and draperies. The arrangement is unified still 
more by the circles of the halo and the rhythmically repeated 
heads of the cherubs. Within this well built composition a 
delightful pattern is formed by the spotting of light and dark 
masses. Pinturicchio attempted to paint an idea, and he 








Fig. 247.—Lonpon Bripecsr, by Whistler. (Courtesy of the Minneapolis Institute 
of Arts.) 

The exquisite beauty of the drawn line can be enjoyed to a marked degree in a 
good etching. Such a picture should be hung over a desk or so placed that one 
can look directly into it. 


chose to do it by means of this decorative pattern instead of 
trying to represent it literally. This picture appeals to one 
not only because of its delightful pattern and its absence of 
realism, but because it is so sincere and unaffected in its 
interpretation. 

Pattern, line, and color in pictures. Pattern is at once 
evident in a study of the Japanese print in Fig. 246. In the 
original print, color contributes to the interest, but the pat- 
tern comes first. The photograph shows the distribution of 

4.02 





Interior Design 











the light and dark masses, and of plain and figured surfaces 
which are so arranged that a beautiful pattern is formed, and 
the effect is decorative. | 

In many pictures it is seen that the artist is primarily 
‘interested in line, as in the Japanese print in Fig. 105, the 





canned > JF Notle = 


Fic. 248.—TnHe SHepuerpess, by Millet. (Courtesy of the Minneapolis Institute 
of Arts.) 


There is great beauty in the dramatic simplicity of the lines in this wood cut. 


Whistler etching in Fig. 247, and the Millet wood-engraving 

in Fig. 248. In these pictures the quality of the drawn line 

is so beautiful that they would give pleasure, whether or not 

they were “faithful likenesses” of their subjects. Here one 

does not feel a need for color. | 

Color is, perhaps, the quality in pictures which is most 
403 


Art in Every Day Life 


universally enjoyed. Grave colors and gay, restful and 
stimulating, make their special appeal to the individual. 
Just as the great artists interpret forms, so they interpret 
colors instead of representing them naturalistically. A 





Fic. 249.—Mrs. Ropinson, by Gainsborough. (The Wallace Collection.) 
The social quality of the subject of this painting is reflected in the delicacy and 
the grace of the treatment, and in the fine scale shown in the texture. 


standard for quality in color may be found in the works of 

such painters as Rembrandt, Velasquez, and Whistler, and 

one’s own selections may be measured by comparing them 

with the works of these or other masters in the use of color. 
404 


Interior Design 





Sometimes all the elements of a picture—theme, line, 
pattern, and color—are found in a single example, as in the 
painting of “Saint Genevieve” in Fig. 72. In this picture 








Bey 


Fic. 250.—Berartrice D’Estr, by Ambrogio di Predis. 
The reserve which marks this picture gives to it an air of formality. 


Puvis de Chavannes tells his story with all the simplicity of 
greatness. The saint, who was the protectress of Paris, is 


watching over the city while her people sleep. All the 
405 


Art in Every Day Life 





strength of character, and the faith of the artist are seen in 
his interpretation of the story of this saintly, patriotic 
woman. One knows instinctively that this painter could 
not stoop to the pretty, or the sentimental kind of picture. 
The photograph suggests, but does not show the subtle 
colors which are in the painting. The quiet, peaceful, blue 
night is suffused with moonlight, and there is a soft glow 
from the lamp within the house. The line is particularly 
beautiful in this composition. The austerity of the vertical 
and horizontal lines has been lessened by the sparing use of 
restrained curves. And the beautiful pattern of the whole 
design shows such perfect balance of light and dark masses 
that the impression of the repose of night is enhanced. 

The suitability of the picture to the room. So many good 
pictures are available that one can find those which will give 
pleasure and at the same time are appropriate for the setting 
in which they will be used. A good picture has one or more 
of the following characteristics: beautiful, expressive line; 
a choice creative pattern; an excellent arrangement of refined 
color; or an elevating theme, well interpreted in form or 
color. This is as far as one needs to go if the picture is to be 
placed in a gallery or in a portfolio; but if it is to go into a 
room which is lived in, other qualifications must be con- 
sidered. Is the picture in keeping with the furnishings of the 
room? Will it be suitable for a man’s room, a woman’s room, 
or a child’s room? Since pictures are the results of the 
painter’s personality there will be hostile and friendly set- 
tings for them, just as there would be for their creators. 
Gainsborough’s “Mrs. Robinson” (Fig. 249) is an example of 
the social type of picture. It is feminine, and refined. It is 
the type of picture that one would expect to see in the bed- 
room in Fig. 191, or in the drawing room in that house. Two 
portraits which are a different type of social expression are 
seen in Figs. 140 and 250. These are more serious than the 
Gainsborough portrait, and would not be suitable for light 

406 


re 


#4 ie 


Interior Design 





frivolous rooms. ‘These pictures find their natural setting in 
rooms similar in type to Figs. 192 and 228, but may be used 
in any dignified, more or less serious environment. 

The religious picture, with its spiritual quality requires 
a special setting, for it is obvious that it would be entirely 
out of place in a gay, social room. Ordinarily religious 





B. 


Fic. 251.—A subject which is as domestic as this looks overdressed in an elabo- 
rate gilt frame. Note the improvement which comes from the removal of the 
carved outer portion of the moulding. 
pictures should be placed in the more personal rooms of the 
house, but, if the atmosphere of the home is such that a 
religious picture will be a sincere expression of the life of the 
family, then it may be hung in the living room. Even in 
these circumstances it is well to hang a religious picture over 
a desk, or in some similar place where it will seem to belong 
particularly to the owner, and not to the public. (See 
Fig. 257.) 

In domestic rooms one should avoid pictures which are » 
distinctly social or formal. Fig. 251 is as domestic as “Mrs. 
Robinson”’ is social. One should not hang these two pictures 

407 


Art in Every Day Life 





in the same room, because they have nothing in common. 
Although the extremely social or the very formal picture 
would be out of place in a domestic room, it is not necessary 
to go to the extreme of domesticity, as in this subject. For 
such rooms there is an intermediate type of picture. Most 





Fic. 252.—Flower Study by Rhea Wells. 
The fanciful, cleverly invented flower forms, and the dramatic colors, which 


are but faintly suggested in the photograph, have lent decorative value to this 
picture. 


landscapes, etchings, Japanese prints, and many portraits 
fall into this group. These pictures may be said to be 
“impersonal”? because they are neither distinctly masculine 
nor feminine. (See Figs. 246, 247, 252, 254, 118, 127, 168, 
and 169.) 
It is not the subject of the picture, but its interpretation 
408 


am cle 


gn 


50 Spa hiean w H 


m 
ee ee 


Interior Design 





that gives it individuality. Holbein’s “Erasmus” (Fig. 253) 
is masculine, and “‘Mrs. Robinson” (Fig. 249) is feminine 
because of the way in which each is painted and not because 
they are portraits of a man and of a woman. A woman’s 
portrait may be painted in a masculine manner, and a man’s 











Fic. 253.—Erasmus, by Holbein. (Courtesy of Stevens’ Art Store.) 
Not only the picture but the character of the frame would be suited to a man’s 
room or to a living room of a domestic type. 


may give an impression of a feminine quality. For example, 
the woman’s figure in the wood block print in Fig. 168 has 
something of the vigor that characterizes the “Erasmus,” 
and one can imagine these pictures used in the same room, 
in a man’s room or in a family living room. 

The artist who creates a picture is giving forth an expres- 
sion of his character, and the person who chooses the pic-_ 
ture for his home does so because it responds to similar 
characteristics in him. While its interpretation may be 

409 


Art in Every Day Life 


satisfying, and its line, pattern, or color pleasing, a picture 


must also be right for the room before it is hung on the 
wall. 

Pictures in relation to the background of a room. If there 
is a great deal of color in the room, and much pattern in the 
wall paper, it will be better, for the sake of proper emphasis, 
to have no pictures on the walls. Perhaps a mirror, or a 
plain textile hanging which will supply interesting variations 
in color or shape will prove to be the desirable wall decora- 
tion. If there is a great deal of color in the room or in some 
part of the room, and but little pattern, the most suitable 
pictures would be drawings or etchings, which supply 
interesting line and pattern, yet do not introduce more color. 
If a room is rather monotonous in color, pictures should be 
selected which will supply color interest. 

How to frame a picture. Shall a picture have a mat, or be 
framed close? A mat will give an agreeable rest space 
between the picture and the walls if the walls have a slight 
pattern, and a mat will enlarge a picture which might other- 
wise be too small for the space it is to occupy. A mat 
should be used on etchings and on pictures which show 
decided movement, especially when the lines of the picture 
have a tendency to carry the eye abruptly out of the frame, 
and likewise when the subject itself seems to fill the space so 
that there is very little background. (See Fig. 118.) 

Mats should be inconspicuous, and for that reason light 
mats should not be used on dark pictures or dark mats on 
light pictures. Ordinarily one should select a mat which is 
somewhat darker than the lightest tones in the picture. If 
the light tones appear only in very small amounts, then a 
slightly darker mat should be chosen so that the mat will not 
contrast harshly with the general value of the picture. The 
“Lady in Yellow” (Fig. 254) has a mat of agreeable color 
and of adequate size. Since the picture is delicate in color 
and in treatment, a light mat was chosen. The mat was 

410 





et ee ee ee 


Interior Design 


tinted with a pale ivory tone to harmonize with one of the 
lighter colors in the picture. 

The type of frame which is chosen should be in harmony 
with the picture. To illustrate, since the treatment and the 
color scheme of the “Lady in Yellow”’ are so delicate, a 














Fic. 254.—Tue Lavy 1n Yettow, by Holbein the Elder. 

This charming picture has been enhanced by a mat of suitable size and shape. 
The colors of the narrow dull gold frame and the toned mat harmonize with the 
colors in the picture.. 


frame which is fine in scale was selected. It is of a dull gold 

with a bit of brown rubbed into it to make it harmonize with . 

the yellow, orange, and brownish tones in the picture. The 

“Erasmus” (Fig. 253), which is forceful, has a heavier frame. 
411 


Art in Every Day Life 





Although this frame has a little enrichment, it is simple 
enough to be in keeping with the subject and its treatment. 
This frame, too, is of gilt, and it has had so much brown 
rubbed into it that it harmonizes perfectly with the rich, 





Fic. 255.—This illustration shows that when a clock and a picture are used over 
a fireplace they create two competing centers of interest. The photographs and 
the motto, which make too many scattered notes of emphasis here, also are un- 
desirable from a decorative point of view. 


deep colors of the picture. When choosing frames, it is well 

to remember that the frame should form a rest space between 

the picture and the wall, and should be less conspicuous than 

the picture itself. The simple frame in Fig. 251B is suited 
412 


Interior Design 








to the subject, while the ornate one in Fig. 251A is incon- 
gruous with the idea of the old kitchen and the woman 
peeling potatoes. ‘The frame should not be more striking 
than the picture, and, as a general rule, one is safe in selecting 


reba arn a A Be tt AS ROS, 


Bel 





i 


Fic. 256.—Note the simplicity of effect that has come from the removal of the 


clock and photographs, the lowering of the picture, the use of the copper bowl 
with flowers, and a colorful little basket. 


~~ 


a frame which is not so dark as the darkest tones in the pic- 

ture. This is a variable rule, however, for a narrow black 

frame is often successfully used,—particularly for etchings 

and for Japanese prints, which usually have rich blacks in 

their pattern. The most generally useful type of frame is a 
413 


Art in Every Day Life 





simple molding of dull gold which may be keyed to the pre- 
dominant color tones of the picture by having a bit of color 
rubbed into it. Shining gold frames are too emphatic to 
make good backgrounds for pictures. Frames of unfinished 





Fic. 257.—Pictures should be hung low enough to group with furniture, for 
they, as well as the other decorative objects which are used in an arrangement, 
should be considered as elements in a design. 


wood, either waxed or not, are inexpensive and may be very 


attractive. 

How to hang pictures. Light pictures are best hung on 
fairly light walls and dark pictures on dark walls or'in dark 
corners, except when, for balance, one hangs a dark picture 

414 





Interior Design 








over a dark piece of furniture. For the sake of shape har- 
mony, tall pictures should be hung in vertical wall spaces, 
and broad pictures in horizontal spaces. (Figs. 282 and 256.) 
Pictures may be grouped so that two or three vertical ones 





Fig. 258.—A mirror makes an excellent substitute for a picture when the other 
objects which are to be used in the group are rather striking in effect. 


will give a horizontal effect, which will harmonize with a 

broad wall space. (Fig. 262.) One must be very sure, 

however, that the pictures which are grouped are in har- 

mony with each other. A painting which shows a broad, 

bold technique should not be placed next to one which is 

fine and delicate. Scale is the next consideration when 
415 


Art in Every Day Life 


hanging pictures. Small pictures should not be placed 
next to large ones, nor should they be hung near a large 
piece of furniture. Similarly, large pictures are out of scale 





a as | 





Fic. 259.—Before a picture is hung it should be studied to determine whether 
its lines carry the gaze to the right or to the left. If the composition causes the 
eye to travel to the right, the picture should not be placed as in the illustration 
above, because it leads the attention away from the group. 


in small rooms, or when hung near small and delicately 
proportioned pieces of furniture. 

Pictures should be so hung that the center of interest 
comes at about the eye level. One should not first see the 
furniture in a room, and then look up and see a line of pic- 
tures on the wall. Sometimes it is desirable to have them 

416 


Interior Design 


lower than the eye level, in order to form a group with a desk 
or a table; or higher, as over a bookcase —but the variation 
should be slight. (See Figs. 198 and 199.) Most people 





Fic. 260.—In this group the picture has been hung so that the lines carry the 
gaze down toward the table. The arrangement on the table then leads the gaze 
to the chair, and so the eye carries back to the picture, completing an easy, rhyth- 
mic movement. 


hang their pictures too high, and the eye is carried up 
toward the ceiling, instead of being kept at the most inter- 
esting points in the room, which are at about the level of the. 
eye, and below that point. 
In successful picture arrangement the principle of em- 
417 


Art in Every Day Life 





phasis plays an important part. If pictures are to be thor- 
oughly enjoyed there must be plenty of plain space around 
them. (See Figs. 1 and 213.) In over-mantel arrangements 
one often sees a picture over a clock, each striving for atten- 
tion as in Fig. 255. Note the improvement in Fig. 256 which 
comes as a result of removing the clock, lowering the picture 
so that it groups with the mantel, and substituting the bowl 





Fic. 261.—Even if the furnishings in this room had been well chosen and well 
arranged, the selection of some of these pictures and their arrangement would 
mark the room as impossible. The crayon portrait and the oval landscape are 
unworthy of being hung, and pictures which are as unrelated in size and shape 
and color as those shown here should not be placed on one wall. 


of flowers and the box for the trite motto and the pho- 
tographs. Photographs, like religious pictures, are per- 
sonal, and if used in the living room they should be framed 
and placed on a desk, or in some similar position. (Fig. 258.) 


This illustration also shows a mirror well used. There are so 


many rather small decorative objects on the desk that a 
picture might have created too much emphasis. The mirror, 
however, provides the size and shape that are needed to 
balance the arrangement, without over-emphasis. As com- 


pared with this group, the decorative objects in the desk 
418 


tS a La ee 


ee ee a 


Interior Design 





arrangement in Fig. 257 are just enough simpler to make the 
use of a picture successful. 

Pictures should be hung over a single piece or a group of 
pieces of furniture so that they will become an integral part 
of the furnishing of a room, rather than appear to be isolated 
spots. When a picture is grouped with a piece of furniture it is 
desirable to see the two as a unit. This may be accomplished 





Fic. 262.—In this illustration both the offending and the unrelated objects 
seen in Fic. 261 have been removed, and, in order to secure an harmonious group, 
others have been substituted. The furniture has been re-arranged as suggested 
in Figs. 22 and 23. 


by hanging the picture very near, or by actually resting it 
upon the piece with which it is to group. (See Figs. 257 and 
213.) Every decorative object near the picture must be con- 
sidered as a part of the group, and must take its proper place 
in order to secure a balanced scheme. (Figs. 257, 258, and 282.) 

Rhythm, or consistent movement, must also be con- 
sidered when arranging pictures and decorative objects. 
Pictures and objects which possess line movement should be 

419 


Art in Every Day Life 





so placed that their lines carry the eye toward a group, and 
not away from it. (See Figs. 259 and 260, and Figs. 118A 
and B). When hanging pictures one should see that they 
are not so hung that they carry the eye up toward the ceiling, 
as in the jagged line in Fig. 261. Usually the tops or bottoms 
of the pictures should be on a straight line. (Fig. 262.) If 
the object underneath the group has a straight line across the 
top, as in this sofa, then the bottoms of the pictures should 
repeat that line; but if there are varied lines in the piece of 
furniture or in the heights of the group under the picture, 
it is better to have the pictures on a straight line at the 
top. 

Pictures should hang flat against the wall, and not tip 
forward. If the screw eyes which carry the picture wires are 


placed high in the back of the frame the picture will not tip. 


forward. If pictures are to be hung with visible wires they 
should be suspended by two parallel wires rather than with 
one fastened at both sides of the picture, which makes a 
triangular shape against the wall, destroying shape harmony 
and violating the principle of rhythm by carrying the eye 
away from the picture. 

The rooms shown in Figs. 261 and 262 illustrate the 
violation and application of the art principles to the selection 
and arrangement of pictures. To secure a satisfactory 
arrangement in Fig. 261 it would be necessary, first, to 
eliminate some of the things which never can be made to 
harmonize with the others. First, the crayon portrait with 
its absurdly ornate frame must go. It has no art quality, 
and while it may mean much to the owner because of its 
association, its place is in a portfolio rather than on the living 
room wall. The picture next to it must be eliminated, also, 
because it is too small for so large a wall. A picture as small 
as this might be placed on a desk, or grouped with something 
with which it is in scale. The landscape, which is unsuitably 


framed in an oval frame, must also be weeded out; so must 


420 


Interior Design 





the etching next to it. The white mounting of this etching 
makes so strong a value contrast with the walls that it 
becomes unpleasantly obtrusive. The vase on the table 
should not be used as a decorative object because its struc- 





Fic. 263.—An India print gives color to this group. It also helps to bring the 
mirror into scale with the size of the chest of drawers. 


tural design is ugly. In Fig. 262 the furniture is rearranged 
so that it harmonizes with the structural lines of the room. 
The pictures are related in size, and are hung with regard to 
the structure of the room and to its furnishings. 
How to judge picture arrangements. All picture arrange- 
ments might well be judged by these three simple tests: 
42] 


Art in Every Day Life 

(1) Is each picture in the room there because it helps 
beautifully to complete a group? 

(2) Are the pictures hung low enough so that they are 
seen with the furniture as a unit? 

(3) Are they all hung on about the same level in the room 
so that they do not form a jagged line upon the walls? 





Sash i & : 
Fic. 264.—(Courtesy of Wm. A. French & Co.) 
This printed linen, with its delightfully colored Persian design, is a type of textile 
which makes an interesting substitute for a picture. The pattern is flat enough 
in effect to make it suitable for a wall decoration, and it possesses a decorative 
quality. 


Substitutes for pictures. ‘There are several substitutes for 
pictures on the walls of a room. Mirrors, and embroidered, 


block-printed, or woven textiles may supply the color and 
4.22 | 


Interior Design 


pattern which are desired. The use of the mirror in Figs. 
258 and 212 has been mentioned, and other substitutes may 
be suggested by Fig. 229, with the Chinese embroidered 
panel; the Indian embroidered panel in Fig. 164; the Indian 
printed textiles in Figs. 225 and 263; and the printed linen 
in Fig. 264 with its Persian design. The choice of these 
textiles is regulated by the same considerations as is the 
selection of a picture. The size, shape, color, texture, scale 
of the pattern and its appropriateness for the owner and 
for the room are the factors which are involved. 

There is no single way in which a person reveals himself so 
completely as he does through his choice of pictures and 
decorative objects. For that reason it is not fair to one’s 
self to keep pictures on the walls which have been outgrown 
intellectually or sesthetically, for it must be recognized that 
when a person has pictures about him he is electing them 
to speak for him. 


423 


CHAPTER XXIT 
INTERIOR DESIGN (Concluded) 


V. FLOWER ARRANGEMENT 


Beautiful flower arrangements add immeasurably to the 
livableness of the home, and they give such pleasure that one 
is richly rewarded for the thought which is put into them. 
In considering flower arrangements as a part of the decora- 
tion of the room in which they are used, attention is called 
to some of the things which must be kept in mind when the 
flowers are being arranged. 

The characteristics of the flowers themselves should be 
noted first. Their line, color, and texture must be studied, 
in order that a suitable container may be chosen for them 
and that they may beautify the room in which they are 
placed. 

Beauty of line and color. Flowers, like pictures, may be 
enjoyed for their line, their mass, or their color. Flowers 
and berries which have much beauty in their lines should be 
so arranged as to emphasize this quality. In order fully to 
enjoy line, a single spray, or a very few blossoms should be 
used, as in the vase with bittersweet in Fig. 265. Some of the 
flowers which are particularly beautiful in line are jonquils, 
lilies, and irises. Seed pods, pussy willows, and berries 
may also have lines of remarkable beauty. Fig. 266 shows 
flowers arranged in a mass. When flowers or berries are 
massed, the lines of the individual sprays are lost, and the 
primary interest is in the color of the plant. In the arrange- 
ment in Fig. 266 one is more aware of a colorful mass than 
of line. Such bouquets bring sparkle and richness into a 
room. Some of the flowers which are attractive in a mass 

424 


Interior Design 





are peonies, lilacs, chrysanthemums, asters, and larkspur. 
(See Figs. 267 and 275.) There are many flowers—roses, 
nasturtiums, and poppies, for example—which have both 
beautiful line and color. Therefore, when only a few are 





Fic. 265.—The outstanding quality of this flower arrangement is the rhythmic 
beauty of its line. This has been emphasized through the curves of the vase, in 
which there is a suggestion of repetition and completion of some of the lines of the 
bittersweet. 


used in a container they are enjoyed for their line, but when 
these flowers are massed they will produce fine color. Even 
when one is working for the effect of color in a mass it is 
desirable to have flowers arranged rather loosely so that 


they may not appear crowded. 
| 425 


Art in Every Day Life 


—_—— 


Color combinations. It is sometimes said that a bouquet 
should never contain more than one kind of flower, or more 
than one color. To be sure, such arrangements have perfect 
harmony, yet very interesting effects may be secured by 
combining suitable colors and textures. For example, a 
bowl of white daisies may receive a charming accent by the 
addition of some blue bachelor’s buttons; and yellowish 





\ : 
Fic. 266.—These flowers, arranged in a mass, have been balanced bisymmetri- 


cally, giving a formal appearance to the bouquet. The placing of the candlesticks 
has added to this effect of formality. 


pink roses (Ophelia roses) combined with larkspur make a 
pleasing color and texture combination. In Fig. 267, daisies 
are used with larkspur; Fig. 272 is blue bachelor’s buttons 
with the gay orange tones of the coreopsis; and in Fig. 266, 
blue bachelor’s buttons and larkspur, dull yellow orange and 
red orange zinnias, and white daisies are placed in a jade- 
green vase on a black teakwood stand. The person who 
understands texture and color harmony will be able to make 
many of these delightful and entertaining combinations. 

In selecting flowers for a room, the first consideration is 
the color scheme of the room. Flowers supply the exhilarat- 
ing accents of color, and, as in the use of all bright color, they 

4.26 





SS ee ~ 


ee ee eS 


Interior Design 


should be chosen deliberately and carefully placed. The 
bright warm colors bring a nete of gaiety into the room, 
while the flowers of cool colors have a subtle beauty. Does 





Fic. 267.—The larkspur here was so arranged that a feathery mass of blue was 
the first impression one received, The sparkling accent of yellow and white of a 
few daisies carried a slight suggestion of the color of the dull, “smoky” yellow 
jar up into the bouquet, and helped to unify the arrangement. 


the room need to be made more stimulating? If so, choose 

the warm colors which will harmonize with the general color 

scheme of the room. Yellow and yellow-orange flowers,— 

the colors of light—will fit into any color scheme, but bright 
4Q7 


Art in Every Day Life 


red-orange and bright red-purple need to be handled with 
care. Rooms which contain considerable amounts of orange 





Fic. 268.—There is a lack of harmony between the textures of the pussy willows 
and the delicate glass vase. More rugged textures are preferable in combination 
with coarse or woody bouquets. 


and scarlet do not successfully receive the purple and red- 

purple flowers. Flowers of these quarrelsome colors, bright 

red-orange and bright red-purp!e, should not be used to- 
428 


Interior Design 





gether, for they destroy each other’s beauty. This should 
be remembered when window boxes are being arranged, and 





Fic. 269.—The objects here are different in color, texture, and form, yet they 
harmonize each with the other. The dull blue pottery vase, which suggests rough- 
ness in spite of its glaze, is related to the texture of the pussy willows. The addi- 
tion of the pewter plate has emphasized the beauty of the arrangement, and the 
small black box, which repeats the colors of the pussy willows in the piece of 
carved jade set into the top, helps to complete a group which would add a decora- 
tive note to a room. 


the flowers are being planted in the yard, for too frequently 
the charming effect of a window box of red-purple petunias, 
429 


Art in Every Day Life 





for example, is lost because of the proximity of some salvia, 





Fic. 270.—The conspicuous design on this vase detracts from a bouquet instead 
of enhancing it. In addition, this vase is not practical, for the neck is too narrow 
to admit enough air to keep the flowers fresh. 
scarlet cannas, or geraniums. If a room seems cheerless, or a 
corner seems too dark, a bouquet of yellowish flowers will 

430 


Interior Design 





seem to supply a glint of sunlight. On the other hand, the 
blue and the purple flowers will appear lost in the dark 
corners, and will be enjoyed most when they are placed in the 
light. 

Selection of vases. A collection of good flower containers 





Fic. 271.—A figured background not only destroys the beauty of a flower ar- 
rangement, but it seems to compete with the flowers for interest. If a room has 
figured wall paper, flowers may be placed so that they will be seen against a window, 
or they may be separated from the wall by the placing of a tray or some other 
plain surface behind them. 


does not necessitate a large expenditure of money. Simple, 

well-proportioned shapes of good color may be obtained 

without cost, or for very little. Snuff jars, ginger jars, olive 

and preserve bottles, and bean jars may make excellent con- 
431 


Art in Every Day Life 





tainers. The colors which are generally useful for vases are 
putty color and other soft earth colors, wood browns, soft 
dull blues, grayed greens and black. Clear glass makes a 
good container for most flowers. However, flowers whose 





Fig. 272.—The plain background behind these flowers has made it possible to 
enjoy their most delicate colors. A comparison of the above picture with Fic. 271 
shows that the lighter flowers which are seen here are practically lost against the 
pattern in the background of the other picture. This container is worthy of notice, 
for its lines are good, it is suitable for many varieties of flowers, it is inexpensive, 
and it is a type which is easily found in the shops. 


heads seem heavy for their stems present a more balanced 

appearance when they are placed in an opaque vase. Weeds, 

seed pods, and berries which have a rough texture are out of 

harmony with the delicate texture of glass, and should be 
432 


¢ 
“a 


Interior Design 





placed in pottery or in baskets. (Compare Figs. 268 and 269.) 

A vase which has as much emphasis in its design as the one 

shown in Fig. 270 should never be used as a flower container 

because the vase becomes as important as the flowers. “ 
The natural growth of the flowers suggests the type of vase 

in which they should be placed. Short-stemmed flowers 





Fia. 273.—These short-stemmed flowers seem to grow naturally out of the low 
bowl which harmonizes so well with their texture. 


should be put into low bowls, and long stems in high vases. 
(See Figs. 273 and 275.) While short flowers do not look 
well in high vases, as is seen in Fig. 274, tall flowers can be 
used successfully in low bowls if the diameter of the bowl 
is large enough to give the impression of balance. (Figs. 275 
and 276.) The size of the vase should be in scale with the 
size of the bouquet. The pottery vase in Fig. 274 is as much 
too large for the bachelor’s buttons, as the glass vase in 
Fig. 277 is too small for the daisies and snapdragons. The- 
size of the bouquet in Fig. 278 is in better proportion to the 
size of the glass vase. 
433 


Art in Every Day Life 





Placing the bouquet. Ordinarily flower arrangements are | 
placed on tables, and so are seen below the level of the eye, 
thus permitting one to look into the bouquet and see the 





Fic. 274.—This vase is too high for flowers with short stems. In order to keep 
the flowers from falling into the vase it becomes necessary to “‘bunch” them, so 


that it is not possible to secure a graceful arrangement. Compare this with the 
illustration in Fic. 273. 


tops of the flowers. Fig. 273 was arranged for a low table, 

and when it was seen in the room one was scarcely conscious 

of stems, but rather, of a mass of blue flowers. This pho- 

tograph, taken at the level of the eye, shows that when the 
434 


Interior Design 


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‘9L6 “ST 





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‘pofofus oq ued aSRI[O} pue SUI9}s IToy} JO soul] oY} Jo Aynvoq 94} 
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Art in Every Day Life 


bowl is raised the stems become as noticeable as the flowers. 
This would suggest that one should decide where the flowers 
are to be placed before beginning to arrange them, for any 








Fic. 277.—This arrangement looks unbalanced, for the bouquet is too large for 
the size of the container. The even spacing of the four daises in the center gives 
a mechanical effect which is undesirable. 


change in the height of its position will alter the appearance 

of the group. Tall flowers should be placed below, or on the 

level of the eye. If they are too high, they will carry the 

eye too quickly to the ceiling. If one wishes to place flowers 
436 


Interior Design 








somewhat above the level of the eye, some drooping lines 
should be introduced into the bouquet which will carry 
the gaze downward toward the eye level. 





Fic. 278.—Here flowers and vase are seen as a unit. The size of the bouquet is 
in scale with the vase, the textures are in agreement, there is variety in the ar- 
rangement, and the width of the opening allows the flowers to take natural, graceful 
lines. 

Flowers can be enjoyed most thoroughly when they are 
placed against a plain background. Just as pattern in a vase 
detracts from the effect of the bouquet, so does a figured 
background. (Compare Figs. 271 and 272.) When flowers 
are used in a room which has figured wall paper it is well to 
place them on a table where they will not be seen against the 

437 


Art in Every Day Life 
wall; or they may be placed where they will be seen as a 
silhouette against a window. A plain textile may be hung on 
a wall behind a flower arrangement to separate it from a 
figured background, or a tray may be placed behind the 
group, as shown in Figs. 24, 239, and 242. 





Fia. 279.—This well shaped black bowl, with its simple decoration of gray lines, 
makes a delightful holder for flowers of many varieties and colors. In this arrange- 
ment are seen interesting variations in the heights and sizes of the flowers, a pleas- 
antly rhythmic movement, and a comfortable sense of balance which was secured 
by placing the largest flower above the center of the bowl and adjusting the others 
around it. 


Whenever it is possible, it is well to group a flower arrange- 
ment with something in the room, so that it becomes an 
essential part of the decorative scheme rather than an 
isolated spot. A few books may help to unite a flower group 


with its neighbors; or the flowers may be placed near a 
438 





Interior Design 








picture or mirror, or in front of a tray, so that an interesting 
group may be secured. (See Figs. 258, 269, 282, and 94.) 
The arrangement of flowers. After having decided upon the 





Fic. 280.—This arrangement is unbalanced because there is so much more to 
attract the eye on one side of the center than on the other. 


colors, the position in the room, and a suitable container, 

one can begin to arrange the flowers. Balance is the first 

consideration, and the flower with the longest stem is usually 

placed so that its head comes above the center of the bowl. 
439 


Art in Every Day Life 





Then the largest or the most conspicuous flowers should be 
placed around the center and balanced by less striking 
shapes or colors farther away. (Fig. 279.) When the large 
mass is placed too far toward one side the arrangement 





Fic. 281.—The rhythmic beauty of plant forms may be more fully realized 
when they are balanced informally than when they are placed in formal arrange- 
ments. This illustration shows much of the feeling of the natural growth of the 
nasturtium, and the shape and texture of the low pottery bowl are in accord with 
the flowers. 


seems to tip. (Fig. 280.) Flowers may be balanced formally 
as in Fig. 266, or informally, as in Fig. 281. The formal 
arrangement is rarely used, for the graceful lines and forms 
of flowers seem to take naturally to the less obvious balance 
of the occult or informal arrangement. The problem of 
balancing flowers in their vases will be simplified if one 
remembers that the heavier mass should come toward the 
440 


Interior Design 








center and that on each side of the center there must be an 
impression of equal attractions, although there need not 
necessarily be equal sizes. 

Rhythm is the next consideration. The eye should be 








a 


Fic. 282.—Flower arrangements are most delightful when they are so placed 
that they seem to become a part of the furnishing of a room. 


carried easily from one part of the bouquet to every other 

part. Rhythm may be gained through the use of rhyming 

lines, sizes, or colors. The bittersweet in Fig. 265 has 
441 


Art in Every Day Life 





delightful rhythm in its line, and the clusters of berries show 
rhythmic gradations of size. Rhythmic lines and gradations 
of size are seen also in Fig. 279, while Fig. 281 shows rhythm 
in its line and in its variations in color. Unfortunately the 
rhythmic color in these flowers is barely suggested in the 
black and white photograph. 

Beautiful proportions contribute as much to the enjoy- 
ment of a flower arrangement as any other factor. First 
one should be mindful of the size of the bouquet so that it 
may be consistent in scale with the objects around it; and 
second, the spaces between the flowers and the variations in 
the lengths of stem should be in pleasant relationship. When 
all the stems are of the same length there is an uninteresting 
monotony of line across the top of the bouquet. Flowers 
which are naturally stiff may appear rhythmic in an ar- 
rangement if their stems are cut so that the blossoms come 
at beautifully spaced intervals. Flowers which are equi- 
distant from each other, such as the daisies in Fig. 277, are 
not so pleasing to the eye as when the spaces more nearly 
follow Greek proportions. (See Figs. 278 and 279.) 

Flower arrangements for the dining room table. Flower 
arrangements which are suitable in type and in size for the 
average dining room table are seen in Figs. 199, 229, and 
230. If a flower arrangement appears rather small it may be 
enlarged and brought into scale with the table by grouping 
candlesticks with it. By remembering that the decoration 
should never interfere with the use of an object, one will 
avoid table decorations which are so high that they prevent 
persons sitting on opposite sides of the table from seeing 
each other. If a table is so large that the people opposite can 
not converse with each other, as is sometimes the case at a 
banquet, the flower arrangements may be as large as seems 
desirable for the size of the table. Low bowls harmonize 
best with the shape of the table, and when high bouquets are 
used they usually need to be brought into harmony with the 

442 


~—» agi 


Interior Design 


line of the table by the use of transitional sizes or shapes, 
unless there are drooping lines in the flowers or foliage. 
Candlesticks may furnish the transitional line, or one may 
use a lower bowl of flowers on either side of a high bouquet. 

Winter bouquets. Flowering bulbs may be obtained so 
easily, and so many varieties of seed pods and berries stay 
beautiful throughout the winter, that one is not dependent 
upon hothouse flowers. Seed pods should not be painted or 
gilded, and it also shows poor taste to use artificial, wax, or 
paper flowers. Occasionally, in a period room, one may use 
flowers of glass, jade, or metal, which are so conventionalized 
that they are merely designs, and not in any sense an imita- 
tion of real flowers. But these should be used only in richly 
furnished rooms of the social type. In flower arrangement, 
as in all decoration, simplicity as well as sincerity should be 
the aim. <A few flowers well arranged, and a few ‘simple 
bouquets well placed add beauty and charm to any room, 
and they will seem to vitalize one’s house, and to give it a 
spirit of friendliness. 


443 


CHAPTER XXIII 
CITY PLANNING 


City planning is an art problem in which one man plans 
the layout or the groundwork of the design, and then turns 
it over to the public who put in the details of the composi- 
tion. It is as if Leonardo da Vinci, the artist who painted 
“The Last Supper” (Fig. 15), had planned the composition 
by placing a long oblong at the base of the picture, a figure 
against a smaller oblong in the center, and diagonal lines 
leading toward the central mass. Let us imagine this plan 
turned over to a number of men picked out at random on the 
city streets, and each man asked to select the details to be 
placed in the picture, within the boundary lines put down by 
Leonardo. Some of the people would have better taste than 
others; some might visualize the picture as a whole, but many 
would see only their share in it, and forget that the composi- 
tion as a whole is more important than any of its parts. No 
matter if the details were badly chosen, the picture would 
still have the merit of a well organized plan; but if the 
artist could have supervised the choices the quality of the 
picture would have been safeguarded. It is safe to say that 
if ““The Last Supper” had been produced in this manner, 
without the supervision of the artist, it would not have been 
one of the world’s greatest pictures. 

Artists are not obliged to work in this way, but unfor- 
tunately City Planning Boards are. Every person who 
erects a structure, plants a tree, or puts up a billboard or 
advertising sign, is taking an active part in an art problem, 
and is either increasing or diminishing the beauty of the 
entire plan. 

In City Planning, as in all art problems, the structural 

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445 


Art in Every Day Life 





design is of first importance. This structural design must 
follow the principles of shape harmony, rhythm, and em- 
phasis if it is to be beautiful. In addition, it must satisfac- 
torily fulfil certain practical considerations if it is to be 
useful. A successful city plan will adequately fulfil all the 
present needs of the community, and, so far as it is possible 
to look into the future, it will allow for growth. The socio- 
logic, economic, and sanitary conditions must, of course, be 
considered; but the art problem is no less important. 

A standard for good structural design in City Planning 
was given to America by Major L’Enfant, a French Army 
Engineer who was appointed by President George Washing- 
ton to lay out a plan for the city of Washington. A pho- 
tograph of this plan including additions proposed by the 
Park Commission of 1901, is shown in Fig. 283. 

A brief analysis of a good city plan, as illustrated in that of 
Washington, shows that, first of all, the streets are laid 
out in an orderly manner. There is enough regularity to 
make for an economical use of the land, with some diagonal 
streets and transitional lines to provide for interesting views. 
There are open park spaces to provide air, rest, recreation, 
and beauty for the people. There is a main center of inter- 
est—the National Capitol—and subordinate centers so 
beautifully placed that the whole plan is balanced. One is 
struck by the beautiful proportions seen here. Skyscrapers 
are not placed next to one-story buildings,—there is a con- 
sistent relationship of sizes. As in all good designs there is 
unity in the whole plan, and enough variety in the details 
to hold the interest. 

Not many cities can have as beautiful public buildings as 
Washington has, but there are other civic centers which may 
become centers of interest in a community. The school- 
house, the city hall, the post-office, the churches, the railroad 
station, or a park, may be focal points to which the streets 
will lead. 

446 


City Planning 


Every American community, no matter how small, should 
have a plan for its future development. There is great signif- 
icance in these words of Elihu Root: “I think that the 
existence of plans known to everybody will give just enough 
direction to the movement of the multitude of separate 
impulses to lead the growth of the city along the right lines.” 

In addition to a well made plan, every city should have an 
Art Commission, composed of members who have a real art 
appreciation. This group should pass judgment upon such 
matters as the designs and colors of the buildings to be 
erected, and the design and placement of billboards and 
advertising signs, as well as providing for the public parks 
and recreation grounds. If such a group were planning for 
the beauty of the city, we should no longer see monotonous 
rows of houses, as in Fig. 284. Nor would there be streets in 
which there is an incongruous assortment of houses which . 
have nothing in common with each other. Each house ina 
block should be harmonious with all the others, even though 
all are different in material and design. (Fig. 285.) If a 
person has decided that he wishes to build a certain type of 
house, he should look for a neighborhood in which that type 
will seem to be consistent with other houses. However, if 
he must build on a certain lot, then he should study the 
other houses in the block, and select a design which will 
harmonize with them. Houses may be brought into harmony 
through the use of the same color of roof, as is demanded in 
Forest Hills Gardens on Long Island. There all the houses 
must have red tile roofs. Another way to unify a group of 
houses is to use the same general. color tone,—that is, to 
avoid building a white house in the midst of a group of dark 
houses. Skillful planting will help to bring together all the 
houses in a block, and it will also serve to tie a house to its 
grounds. The general contour of a house should somewhat 
resemble its neighbors. A very low house, such as a small 
bungalow, is out of place among large houses which are 

447 


Art in Every Day Life 


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Art in Every Day Life 


distinctly vertical in effect. Prospective builders may learn 
from their Art Commission that beautiful designs need not 
cost more than ugly ones, and that each person has a respon- 
sibility to the whole community to keep up the standards of 
beauty in his city, just as definitely as he is expected to keep 
up the standards for health, morals, and happiness. 

We have only to look to Forest Hills Gardens to see what 
beautiful communities may result where there is a city plan, 
with a supervising body of architects to see that the plan is 
carried out. However, when a town has no City Planning 
Board, it becomes the responsibility of every citizen to study 
his community carefully and to plan appropriately, so that 
his buildings and grounds will enhance the neighborhood. 


450 


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INDEX 





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INDEX 


Advertising, 
balance in layouts, 95 
color, importance of value contrast, 

192-194 
dramatic effect of the unusual, 151 
economic factors in, 
color value, 192-194 
line in, 137-140 
emphasis in, 151-154, 175-183 
harmonious shapes in layouts, 44- 
46 
Law of Optics, the, 242 
planning margins for, 239-242 
rhythm in, 137-140 
sturdy and delicate wares, 
appropriate balance for, 96 
appropriate lettering for, 245 

Allover design, see Surface pattern. 

Alphabet, 247 

American Colonial period, spirit of, 93, 
370 

Analysis of a design, 230-234 

Analysis of an art problem, 221-226 

Architecture, see Exterior design 

Arrangement, orderly arrangement, 28 

Arrangements, see Decorative arrange- 
ments. 

Art, see Design, Beauty, Taste. 
economic aspects of, 1, 5, 221, 224 
for the consumer, 1—5, 227 
in every day life, 1-5 
in dress, esthetic requirements, 251- 

252, 272 
in the home, 321-443 
principles of, 5 
solving an art problem, 221-226 
ways of expressing, 4 
Association of ideas, 55 


Backgrounds, 
color in, 192-194, 210, 211, 352-354 
emphasis in, 154, 174-178, 354-356, 
410, 437 
Law of, 143 
plain spaces, value of, 148-150 


Balance, 83-114 
bisymmetric, 85 
definition, 83 
exercises in, 96-102 
formal balance, 
definition, 85 
effect of, 85, 92, 106, 108, 111 
how to secure, 83-85, 96-102, 109, 
110 
in advertising, 95 
in color, 201, 205-208, 285 
in decorative arrangements, 106-109 
in decorative design, 90 
in dress design, 110, 265 
in exterior design, 92-95 
in flower arrangement, 439-441 
in interior design, 102-109, 350 
in mounting pictures, 242 
in pictorial composition, 86-90 
in table setting, 33 
in window displays, 96-102 
informal balance, 
definition, 85 
effect of, 85, 92, 108, 112 
occult balance, 85 
summary of balance, 112-114 
Balance line, figure construction, 305 
Beauty, 
how determined, 1 
in color combinations, 204-205, 211. 
214, 219, 220, 426-431 
in dress, 251-253 
in objects for use, 10-14, 18-19, 141 
Bedrooms, 382-389 
Bookcases, 352 
Books, arrangement of, 351-352 
Breakfast room, 380 


Ceilings, 356 
Centers of Interest, see Emphasis. 
Character in design, 234-238 
Child’s room, 388-389 
China, design for, 53-54 
City planning, 444-450 

an art problem, 444 


453 


Index 





City planning, 
harmony in, 447 
need for organized plan, 444 
requirements for, 446 
Washington, D. C., a standard, 446 
Collars, 17, 39 
Color, 
advancing and receding, 189 
black, 
cause of, 185 
effect of, 192 
lowest in value scale, 191 
complementary, 195-198, 201, 206 
gray, cause of, 185, 195, 196 
how to force color, 197 
how to know color, 184-203 
how to subdue color, 197 
hue, see Color theory 
intensity, see Color theory 
Law of Areas, 205 
popular names for, 187 
summary of color theory, 199 
texture, effect upon, 199, 287 
theory of color, 184-203 
value, see Color theory. 
warm and cool colors, 188, 288, 294— 
295, 353 
white, 
cause of, 185 
effect of, 192 
highest in value scale, 190 
source of all color, 185 
Color chart, suggestions for making, 200 


color harmonies, 
double complementary, 218 
one hue, one mode, or monochro- 
matic, 215 
related. harmonies, 215-216 
split complementary, 218 
standard harmonies, 215-220 
triads, 219-220 
crossing, balance through, 207-208 
forcing and subduing colors, 197, 
290, 296-298 P 
harmony in, 210-220 
harmony with variety, 211-212 
intensity contrasts, effect of, 195 
keyed color, 212-214, 220 
keying, 
glazing, veiling, or topping, 212 
mixing, 212 
neutralizing, 212, 220 
through texture, 213 
through tying, 213 
Law of Areas in, 198, 205, 285 
proportion in, 208, 286 
repetition, balance through, 207, 285 
rhythm in, 209, 285 
sources for suggestions for, 214 
suggestive schemes illustrating, 
harmony with variety, 211, 220 
keyed color, 213 
repetition for balance, 208 
summary, color combinations, 220 
value contrast for interest, 194 
warm and cool colors, 188, 210, 211 


Color combinations, 204-220 Color harmony, see Color combinations. 
balance in, 205-208, 285 Color in dress, 285-301 
~ hues, 206 advancing and receding hues, 189, 288 


intensity, Munsell system, 205 
values, 206 
through crossing or _ repetition 
207-208, 285 
through Law of Areas, 205, 285 
beauty in, 204-205, 211, 214, 219, 
220, 426-431 
black, use of, 192 
emphasis in, 209, 286 
color harmonies, 215-220 
analogous, 216 
complementary, 217 
contrasting harmonies, 217-220 
contrasting, how to use, 219 


454 


balance, 
through Law of Areas, 285 
through repetition, 285 
becoming colors, 290, 299 
complexion, 
effect of intensity upon, 289 
effect of values upon, 289 
types of, 291-293 
complexion difficulties, 
force color in cheeks, 297 
force color of eyes, 297 
force color of hair, 297 
how to overcome, 296-298 
monotonous coloring relieved, 298 





complexion difficulties, 
subdue color of hair, 298 
subdue color in cheeks, 297 
subdue yellow in skin, 296 
emphasis in, 286 
forcing and subduing colors, 197, 
290, 296-298 
harmony in, 286 
individual types, color for, 286-301 
auburn hair, 295-296 
blondes, 294 
brunettes, 295 
cool type, 294 
gray hair, 298 
intermediate type, 293-294 
red hair, 295-296 
warm type, 295-296 
influencing factors, 262, 286-289 
age of person, 288 
complexion, 288-301 
light effects, 287 
personality, 288 
size of person, 288 
texture, 287 
proportion in, 208, 286. 
rhythmic distribution of, 285-286 
size affected by, 192, 288 
summary, color in dress, 300-301 
unbecoming colors, 290, 299-300 
values, effect of, 289 
warm and cool colors, 291-296 


Index 





suggestive schemes, 
bedroom, harmonious variety, 211 
dining room, balanced color, 208, 
381 
living room, keyed colors, 213, 220 
walls, 192-194, 210, 211, 352-355, 384 
warm and cool colors, 352 
woodwork, 356 
Color in pictures, 402-404 
Color in planting, 157, 189, 428 
Color in store display, 
for different seasons, 189 
color value, 192-194 
forcing and subduing color, 197 
window displays; 
background colors, 211 
balancing colors, 207 
Color in tea-rooms, 189-190 
Color theory, 184-203 
balance, 
of hues, 201, 206 
of intensity, 205 cara ed 
of values, 206 
binary colors, 186 
chroma or intensity, 194-198 
symbol for, 194, 202 
classes of color, 185 
complementary colors, 195-197, 206 
balance of, 195, 206 
how to find, Prang system, 196 
Munsell system, 201 


Color in exterior design, 156 Prang system, 196 

Color in flower arrangements, 424- dimensions of color, 184-198 
432 exercises in color, 200 

Color in interior design, hue, 185-190 
adjoining rooms, 353 definition, 185 


balance, 
in house furnishings, 104 
through crossing or repetition, 207 
through Law of Areas, 205 
ceilings, 356 
effect of close values, 192-194, 353, 
384 
effect of contrasting values, 192-194, 
353, 374, 384, 394-395 
flowers for color scheme, 426-431 
forcing and subduing color, 197 
keyed color, 213, 220, 353 
lamps, colors for, 367 
size of room affected by, 192 


how to change, 188 
notation, Munsell system, 201 
notation, Prang system, 185-186 
summary of, 190 
symbol for, 185, 201 
hues, 
advancing and receding, 189 
effect of different, 189, 352 
relative strength of, 202 
seasons suggested by, 189 
values of normal colors, 191 
warm and cool, 188, 291 
intensity or chroma, 194-198 
definition, 194 


455 


Index 





intensity or chroma, 
effect of, 195, 197-198, 353 
how to change, 195-197 
how to force, 197, 289-290 
how to subdue, 197, 290-291 
indication of taste, 198 
scale of, 195 
summary of, 198 
symbol for, 194 
intermediate colors, 186 
Munsell system, 184, 200-203 
chroma, 202 
chroma, notation, 203 
chroma, scale of, 203 
chroma, symbol, 202 
color sphere, 200 
hue, 201 
hue, notation, 201 
hue, symbol, 201 
hues, balance of, 201 
hues, relative strength of, 202 
intermediate hues, 201 
principal hues, 201 
value, notation, 202 
value, scale of, 202 
value, symbol, 202 
neutrals, black, gray, white, 185 
normal colors, 185 : 
notation, Munsell system, 203 
notation, Prang system, 198 
Prang system, 184-200 
primary colors, 185 
properties of color, 184-198 
qualities of color, 184-198 
secondary colors, 186 
source of color, 185 
standard colors, 186 
summary of color, 199 
systems, 184 
tone, definition, 188 
value, 190-194 
close and contrasting, 192-194 
definition, 190 
effect of different, 192, 289, 353 
how to change, 191 
of normal colors, 191 
notation, Munsell system, 202 
notation, Prang system, 198 
scale of, Munsell system, 202 
scale of, Prang system, 191 


value, 
summary of, 194 
symbol for, Munsell system, 202 
symbol for, Prang system, 190 
tints and shades, 191 
Complementary colors, 195-198, 206 
Complexion, see Color in dress. 
Conservative dress, 38, 255-257, 264 
Consistency, see Harmony. 
Consumer, art needs for, 3-4, 227 
Contradiction, 23, 39-40 
Conventionalization, 11-14, 20, 53-55, 
234-238, 266, 361 
Costume, see Dress design. 
Costume, historic, see Historic costume. 
Cretonne, see Draperies. 
Crossing, 207-208, 285 
Curtains, see Draperies. 


Decoration, 
for its own sake, 15, 147-148 
its place in art, 2 
Decorative accessories, see Interior de- 
sign. 
Decorative arrangements, see Interior 
design. 
Decorative design, see Design. 
Decorative quality, 234-238, 381 
Design, 
character in, 234-237 
conventionalization or adaptation, 
11-14, 20, 53-55, 234-238, 266, 
361-362 
decorative design, 6—20 
balance in, 90 
character in, 234-238 
consistency in, 9 
decorative quality in, 234-238 
definition, 6 
effect of rhythmic repetition, 119 
for china, 53-54 
good and poor collars, 17-18 
in dress, see Dress design. 
in exteriors, 15 
in furniture, 16 
harmony of ideas in, 53-55 
influenced by structure, 11 
requirements, of, 10-15, 228-229 
subordinated to structure, 147, 
154-155 


456 


Index 


decorative design, Dress design, 


summary, 20 
units interestingly spaced, 67 
units rhythmically placed, 123-124 
decorative quality in, 234-237 
definition, 4, 6 
factors involved, 228-230 
how to make a design, 227-250 
for a costume, 238 
for a woven runner, 230-234 
for an interior, 238 
for embroidery, 230-234 
for lettering, 244-250 
for window displays, 137-140 
placing centers of interest, 178-182 
naturalistic, 11-13, 53-54, 235 
requirements for useful objects, 18- 
19, 141 
structural design, 6-20 
definition, 6 
in dress, 35-39, 255-257 
in exteriors, 15 
in furniture, 16 
requirements for, 6-10 
summary, 20 
Dining alcove, 379 
Dining rooms, 371-382 
Doilies, 
decoration of, 163-164 
placing of, 34, 374 
Domestic expression in furnishings, 
328, 331-335, 341-342, 361, 408 
Draperies, 
color for, 29-30, 357 
glass curtains, materials for, 365 
hanging of, 25, 29, 362-365 
length of, 364 
materials, for, 365 
pattern for, 130, 236, 357-362 
pattern, types of, 325-328, 360 
to increase width of windows, 72-73 
to increase height of windows, 72-73 
valances, 365 
Dress design, 251-284 
accessories, 
jewelry, 147-148, 170 
size of, for individuals, 81 
adjuncts of dress, 268-273 
zesthetic requirements for, 251, 272. 
balance in dress, 110-112, 265 


457 


becoming and unbecoming lines, 39 
collars for lines of face, 40 
collars, good and bad decoration, 
17-18 
color in dress, 285-301 
conservative dress, 
determined by, 255-257, 264 
silhouette, a factor in, 38 
decoration of dress, 39, 265-267 
placing of, 41, 164-171, 265-267 
self-trimming, 265 
spacing of, 67, 119 
design, selection of, 262-267 
disguising physical defects, 74-76, 
137, 168, 264, 268-270, 274-284 
dressing for types, 252 
economic aspects of, 254-257, 265 
conservative silhouette, 38, 255 
effect influenced by balance, 111-112 
emphasis in dress, 164-171, 264 
emphasizing good features, 137, 274- 
284 
face, the center of interest, 167 
figure construction, 306-320 
balance line, 305 
dress forms, how to draw, 312-316 
lay figure, how to draw, 306-320 
hairdressing, 42, 271 
harmony in dress, 35-42, 49, 54-55 
hats, balance in, 110 
hats for lines of face, 41, 268-270 
drooping mouth, 41, 268-270 
long, thin face, 75, 268-270 
round face, 41, 268-270 
square face, 41, 268-270 
weak chin, 41, 268-270 
health and comfort in, 254 
historic costume, see Historic costume. 
hosiery, 272 
how to plan a dress, 258-267 
human proportions, 302-307 
average proportions, 302-307 
head, unit of measurement, 302 
methods of determining, 303 
table of lengths and widths, 305- 
307 
in relation to the figure, 37 
individuality in dress, 267, 273 
individuality vs. fashion, 257 


Index 





Dress design, 


materials, 
color in, 262 
combinations of, 259 
figures in pattern, scale of, 81, 
260-261 
pattern, emphasis in, 148, 260-261 
plain and figured, 260-262 
seasonal fabrics, 257 
selection of, 258-262 
texture, 199, 258 
modesty in dress, 254 
necklines, 40 
personality in dress, 252, 288, 289 
planning a wardrobe, 253 
harmony, an essential, 252-254 
inconspicuous clothes, 165 
suitability to occasion, 165, 253- 
Q54 
proportion in dress, 66, 74-76, 263 
requirements for, 251 
rhythm in dress, 119, 136, 264 
scale in dress, 81 
shoes, 272 
shape harmony in dress, 35-39, 41, 
263 
silhouette, 
shape harmony in, 36-39, 255 . 
types of, 37 
simplicity in dress, 170, 251, 265 
spacing, 66 
standards for judging, 251-257 
steps in designing a costume, 238 
stout figure, 
accessories for, 81 
color for, 189, 192, 288 
lines for, 74-76 
pattern for, 166 
summary of suggestions for, 274 
textures for, 258 
structural design in dress, 36-39, 263- 
. 265 
suggestions for, 
broad shoulders, 278 
flat chest, 279 
glasses, 284 
large bust, 278 
large face, 281 
large features, 284 
large hips, 279 


458 





suggestions for, 
large waist and hips, 279 
long neck, 280 
long waist, slender figure, 280 
low forehead, 283 
narrow, pointed face, 282 
narrow shoulders, 277 
prominent chin and jaw, 283 
prominent forehead, 283 
prominent nose, 282 
receding chin, small jaw, 283 
retroussé nose, 282 
round face, 281 
round shoulders, 278 
sharp, angular features, 283 
short neck, 280 
short waist, 280 
small face, 281 
square face, 281 
stout figure, 274-275 
thin figure, 276 
suitability, 
to individual, 251-252, 257 
to occasion, 165, 253-254 
texture, 
combinations, 49, 259, 266, 288 
in relation to design, 259, 266 
in relation to individual, 259, 287 
thin figure, 
summary of suggestions for, 276 
textures for, 259, 287 
types of individual, 252 
underwear, 166 


Economy, 


art a factor in, 1, 5 

in dress design, 38, 254-257, 265 

in furniture selection, 369 

of understanding line movement, 137- 
140 


Embroidery, 


for dress design, 166, 266 

making a design for, 230-234 

suggestions for designing, 10, 23, 
41, 53-55, 81, 90-92, 119, 1235 


Emphasis, 141-183 


definition, 141 

factors in, 141 

how much to emphasize, 154 
how to emphasize, 143-154 


Emphasis, 
in advertising, 175-183 
in backgrounds, 143, 150 
in color, 209, 286 
in dress design, 164-171, 264, 267 
in exterior design, 155 
in household linens, 163 
in interior design, 148, 158-163, 
354-355, 382-383, 388-389, 393, 
410, 418 
in pictorial composition, 145, 149, 
1 Fo a Bea 
in planting, 157, 158 
in store display, 171-175 
in surface patterns, 148 
simplicity, importance of, 141, 154 
subordination, 142 
summary of Emphasis, 183 
through color contrast, 145 
through decoration, 147 
through grouping objects, 145 
through plain space, 148 
through the unusual, 151 
what to emphasize, 142 
where to place centers of interest, 
178-182 
English period styles, spirit of, 332, 370 
Environment, influence of, 1, 2, 321, 
388 
Exterior design, 
balance in, 92-95 
color in, 156-157 
decoration, good and poor, 15 
details, 
consistency in, 49-51 
size of, 77 
doors, placing of, 126 
doorway, 
a center of interest, 158 
harmonious lines in, 26 
effect, 
influenced by rhythm, 125 
influenced by type of balance, 93 
emphasis in, 155-158 
in relation to neighborhood, 447 
in relation to the site, 15, 331 
influences expressed in, 
domestic, 331-332 
social, 336-338 
unimaginative, 342-343 


Index 


Exterior design, 
mass, 
proportions of, 60-61 
rhythm in, 15-16, 124 
materials, 
brick, pattern formed by, 155-156 
combinations of, 16, 155 
consistency in, 16, 49-51 
effect of texture, 199 
stucco, color and texture of, 156 
planting, 27, 157, 158, 189, 331, 429 
proportion in, 58-61, 69-71, 77 
shadows a factor in, 156 
simplicity in, 157 
structures, good and poor, 15, 331 
texture in, 156, 199 
trim, color for, 157 
vertical and horizontal lines in, 69-71 
windows, 
arrangement of, 126 
color for trim, 157 
grouping for effect, 70 
poor shape for, 42 
scale in, 77 


Fabrics, see Texture and Draperies. 
pattern, scale in, 81 
texture, 
effect upon color, 199 
seale in, 81 
Feminine expression in furnishings, 
323-328, 409 
Fireplace, well proportioned mantel, 61 
Floors, see Rugs. 
Florentine Renaissance period, spirit 
of, 93 
Flower arrangement, 424-443 
artificial flowers, 443 
color and line in, 424 
colors for the room, 426-430 
for dining table, 442 
in relation to background, 437 
placing of, 434-438 
suggestions for arranging, 439-442 
vases for, 431-433 
winter bouquets, 443 
French period styles, spirit of, 338, 370 
Furniture, . 
arrangement, 
balance in, 102-109, 350 


459 


Index 


arrangement, 
convenience in, 102, 349 
for points of interest, 132-133 
harmony in lines of, 29-32, 350 
relation of pictures to, 419 
comfort in, 80, 368 
design, 
decoration, good and poor, 16 
making the best of bad, 396 
scale for room, 79-80, 368 
scale in, 79-80 
spacing in, 66 
straight and curved lines in, 130 
structures, good and poor, 16 
effect against walls, 353 
overstuffed, 16, 78-81, 368-369, 397 
requirements for, 16, 368 
selection, 
economy in, 369 
for bedroom, 386 
for dining room, 373-379 
for living room, 368-371 
“sets” of, 368 
simple types of, 369, 377-378 
slip covers, a use for, 397 


Girl’s bedroom, 323 
Glass curtains, 25, 29, 365 
Greek oblong, 58 
Greek art, 
decoration in, 147, 154 
proportion in, 58-60 
simplicity in, 141-142 
Guest room, 323-328, 388 


Hairdressing, 42, 271 
Halls, 345 
Hangings, see Draperies. 
Harmony, 21-56 
aspects of, 21 
contradietion, 23 
effect of, 39 
definition, 21 
in city planning, 447 
in color, see Color combinations, 204- 
220 
in dress design, 35-42, 252-254, 263 
in interior design, 25, 29-33, 48-49, 
51-52, 350, 368, 384 
in planting, 27 


Harmony, 
lines, types of, 23 
of sizes, see Proportion, scale, 48 
of textures, 48-49 
in dress, 49 
in house furnishings, 51-52 
in pictorial composition, 22 
in picture selection and arrangement, 
30-382, 415 
opposition, 23 
orderly arrangement, 28 
repetition, 23 
effect of, 39 
shape harmony, 24-48 
in advertising, 44-46 
in arrangement of rugs, 29 
in collars, effect of line, 40 
in decorative arrangements, 33 
in doorway, 26 
in dress design, 35, 41 
in hairdressing, 42, 271 
in hanging curtains, 25 
in hats, effect of line, 41 
in interior design, 29-33, 415, 420 
in letter writing, 48 
in hanging pictures, 415, 420 
in mounting pictures, 242 
in table setting, 33 
in store arrangement, 43 
shape, types of, 24 
summary of harmony, 55 
transition, 23 
effect of, 39 
transitional lines in planting, 26 
variety within, 21 
Harmony of color, 204-220 
Harmony of ideas, 49-55 
in decorative design, 53 
in exterior design, 49-51 
in house furnishings, 51-52 
in window displays, 52 
Harmony of line, 24-48 
Hats, 
balance in, 111 
for lines of face, 41, 75, 268-270 
Historic costume, 
illustrations of, 
late Renaissance, 37 
Louis XIII, 38 
Louis XVI, 74 


460 





illustrations of, 
Medieval, 35, 74 
Restoration, 113 
Sixteenth Century, 169 
the year 1487, 256 
one 18 0y66 
1894, hats, 269 
1914, 36 
1919, 135 
1920, 110 
1920, hats, 111 
1921, 112 
1922, 168 
silhouettes, 37 
Historic periods, 
American Colonial, spirit of, 93, 370 
Early English, spirit of, 332, 370 
French, spirit of, 338, 370 
Gothic, Venetian, spirit of, 93 
Greek art, 
decoration in, 147, 154 
proportion in, 58 
simplicity in, 141-142 
Japanese art, informal balance in, 91 
Japanese prints, 
decorative quality in, 237 
pattern in, 402 
rhythm in, 122 
Renaissance, Florentine, spirit of, 93 
Renaissance, Italian, spirit of, 336, 
338, 370, 376 
use of period styles, 339, 371 
Hosiery, 272 
House furnishings, see Interior design. 
How to make a design, 227-250 
How to know color, 184-203 


Impersonal expression in furnishing 
323, 361, 408 
Individuality, 
in dress design, 267, 273 
in interior design, 321-344, 347, 371, 
382 
Influences in furnishings, 323-344 
Interior design, 
a factor in molding character, 2, 
521-322 
accessories, importance of, 350, 371 
arrangement, 29-32, 349-351 
balance in, 102-109 


Index 





Interior design, 
bedroqms, 382-389 
child’s room, 388-389 
color in, 383 
function of, 382 
furniture for, 386 
girl’s room, 323-324 
guest room, 323-328, 388 
man’s room, 327 
woman’s room, 325 
bedroom-living room, 387 
books, arrangement of, 351 
bookeases, 351 
breakfast room, 380 
ceilings, 356 
club room, refurnished, 397 
color in, see Color im interior design. 
couch covers, colors for, 387 
curtains, see Draperies. 
decorative accessories, 
for dining room, 371-378, 380, 381 
for living room, 322, 348, 350 
selection of, 6-15, 49, 53-55, 234, 
352, 422-423, 431 
use and misuse of, 348, 350, 371- 
376, 380, 422 
decorative arrangements, 
balance in, 106-109 
harmonizing the lines of, 33 
integral part of room, 323, 419, 
434-438 
rhythm in, 135 
rhythmic heights in, 121 
spacing in, 66, 181 
dining alcove, 379 
dining rooms, 371-382 
flower arrangements for, 442 
furniture for, 373-380 
lighting for, 381 
plate rail, 374 
rearranged, 392-395 
relation to the house, 382 
restful and restless, 371-376, 392- 
396 
restful, or stimulating, 371 
types of, 371-380 
dining room-living room, 379 
draperies, see Draperies. 
emphasis in, 148, 158-163, 354, 
382, 388, 392-393, 410, 418 


461 


Index 





Interior design, 
floors, see Rugs, 192, 356 
furnishings, 
an expression of character, 322 
balanced arrangement of, 102-109, 
350 
effect of, against walls, 353 
grouping for convenience, 349 
orderly arrangement, 29-32, 350 
plan for, 162 
furniture, see Furniture. 
halls, essentials for, 345 
hall, keynote to the house, 345 
harmony in, 25, 29-33, 48, 51-52, 
350, 368, 382. 
homelike quality, 345-389 
hospitality a factor in, 388 
individuality in, 321-344, 347, 371, 
382 
influences in furnishings, 323-344, 
, 406-409 
domestic, 328-335, 341-342, 361, 
407 
feminine, 323-328, 409 
masculine, 323-328, 332, 409 
impersonal, 323-328, 361, 408 
social, 328, 336-342, 361, 406 
unimaginative, 343 
lighting in, 366, 367, 381, 394 
linen, 
decoration of, 163, 234-235 
placing of, 34, 374 
living rooms, 347-371 
accessories for, 350 
books, arrangement of, 351 
color in, 352-368 
flower arrangements for, 424-443 
furnishings for convenience, 349 
furniture arrangement, 350 
furniture for, 368-371 
homelike quality in, 347-348 
lighting for, 366-367 
rearranged, 29-32, 420 
simplicity in, 348 
living room-bedroom, 387 
making the best of one’s possessions, 
390-398 
concealment, 390-398 
elimination, 390-398, 420 
rearrangement, 390-398, 420 


462 





Interior design, 


pattern, 
against pattern, 170 
amount for room, 159-162, 354, 
396, 357, 372, 382-384 
distribution in room, 159 
personality in, 321-344 | 
pictures, 399-423 
plan for furnishing, 162 
proportion in, 66, 72-74, 78-81, 397-— 
398 
radiator, suggestion for, 396 
rhythm in, 126-136 
rooms, 
effect influenced by balance, 107- 
109 
effect influenced by lighting, 366, 381 
height apparently decreased, 72-73, 
356 
height apparently increased, 72- 
74, 356 
length apparently decreased, 72- 
73, 398 
size affected by color, 192-193, 352 
size affected by draperies, 357 
size affected by furniture, 79 
size affected by rugs, 73, 357 
rugs, see Rugs. 
shapes, 
altered in effect, 72-74 
effect upon each other, 39 
sincerity in, 321 “ 
steps in designing, 238 
study table, 394 4 
table covers, color and placing of, 4 
30, 374, 394-395 
texture, 
combinations in, 49 
effect upon color, 199 f 
harmony of, 48-49 
walls, 
color for, 192-194, 210, 211, 352- 
354, 384 .. 
pattern on, 126-128, 148, 154, ‘ 
159-162, 354, 372, 382-383 
where to place centers of interest; 181 
windows, 
height apparently increased, 72-74 
width apparently increased, 72-74 
woodwork, 356, 392 


Italian Renaissance period, spirit of, 336, 
338, 370, 376 


Japanese art, informal balance in, 91 
Japanese prints, 

decorative quality in, 237 

pattern in, 402 

rhythm in, 122 
Jewelry, 147-148, 170 

Job analysis, selection of a rug, 221- 

226 


Keying colors, 212-213 


Lace design, 
lack of rhythm in, 123 
rhythm in, 118-124 
Lamps, design and color of, 367 
Law of Backgrounds, 143 
Law of Color Areas, 205 
Law of Margins, 239-242 
Law of Optics, 110, 242 
Lettering, 244-250 
Letter writing, 
art involved in, 48 
planning margins, 239-242 
Lighting, 
design and color of lamps, 366 
effect upon a room, 366, 381 
remedying ugly fixture, 394 
Line, 
altering appearances of shapes, 39 
altering proportions by, 67-76 
harmony of, 24-48 
in decorative arrangements, 33 
in flower arrangements, 424 
in furniture arrangement, 29-32 
in pictures, 402-404 
in store arrangements, 43 
types of, in design, 23 
Linen, designs for, 163, 234-235 
Living rooms, 347-371 


Man’s room, 327, 332 
Mantel, 
arrangements, 49, 66, 120-121, 418 
interesting proportion in, 61 
Margins, 
balance in, 242 
Law of Margins, 239-241 
proportion in, 179, 241-242, 


Index 


Margins, 

shape harmony in, 242 

Masculine expression in furnishings, 
323-328, 332, 409 

Mirror, as substitute for pictures, 410, 
418, 422 

Movement, see Rhythm. 


Naturalistic design, 11, 13, 53-54, 235 
Neck lines, 40 
Nursery, 388 





Opposition, 23 
Optics, Law of, 110, 242 
Orderly arrangement, 28 


Pattern, see Surface pattern, 
in pictures, 402 
Personality, 
in dress design, 165, 252, 288, 289 
in interior design, 321-344 
Pictorial composition, 400 
balance in, 86-90 
emphasis in, 145, 149, 151, 170 
harmony in, 22 
rhythm in, 122 
Pictures, 399-423 
appeal of a picture, 399 
arrangement, see hanging of. 
backgrounds for, 354-355, 410 
framing of, 410-414 
grouped with furniture, 419 
hanging of, 30-32, 121, 133-136, 163, 
414-423 
how to judge arrangements, 421 
how to mount, 239-241, 410 
in relation to walls, 
414-416, 


size, color, and shape, 
420 
interpretation and_ representation, 
399-400 


mats for, 410 
pattern, lines, and color in, 402, 410 
selection of, 30-32, 399-414 

for child’s room, 389 
substitutes for, 410, 418, 422-423 
suitability to the room, 406-409 
types of expression, 406-409 

Planting, 

color, 

use of advancing colors, 189 


463 


Index 





color, 
use of receding colors, 189 
color and pattern against walls, 157 
color combinations, 428 
tying the house to the grounds, 26, 
331 
to emphasize entrance, 158 
where to place, 158 
Posters, see Advertising. 
Principles of art, 5 
Proportion, 57-82 
aspects of, 57 
definition, 57 
Greek oblong, standard for, 58 
human proportions, 305 
in color, 208 
in dress design, 65-67, 74, 81, 263, 266 
in exterior design, 60-61 
in flower arrangement, 442 
in hairdressing, 271 
in interior design, 66, 72-74, 78-81, 
397-398 
in mounting pictures, 241-242 
line movement to alter, 67—76 
dress design, 74 
exteriors, 69-71 
rooms, 72-74, 397-398 
odd and even numbers, 67 
scale, 76-81 
definition, 76 
in dress, 81, 266 
in exteriors, 77 
in fabrics, 81 
in house furnishings, 78-81 
judged by, 79 
space relationships, 57-67 
spaces divided, 
into more than two parts, 63-66 
into two parts, 61 
spacing, 
in decorative arrangements, 66 
in dress design, 65, 66 
in furniture design, 66 
Parthenon, standard for, 60, 66 
to gain interest, 57 
surnmary of proportion, 81 


Radiation, 115 
Radiator, suggestion for, 398 
Related Art, 221 


Religious expression in pictures, 407 
Repetition, 
for rhythm, 117 
in color, 207-208, 285 
of shapes, 23, 39-41 
Rhythm, 115-140 
definition, 115 
how to gain, 117 
in advertising, 140 
in color, 209 
in dress design, 136, 264 
in exterior design, 124 
in flower arrangement, 441 
in furniture arrangement, 132 
in furniture design, 130 
in interior design, 126-136 
in pictorial composition, 122 
in picture arrangement, 133, 419 
in store display, 137-140 
summary of rhythm, 140 
through continuous line movement, 
122 
through progression of sizes, 119 
through repetition, 117 
Rooms, see Interior design. 
Rugs, 
color for, 192, 224, 356 
effect upon size of room, 73, 357 
medallions in, 163, 357 
orderly arrangement of, 29 
pattern of, 127, 128, 148, 356 
selection of, factors involved, 221- 
226 


Scale, 76-81 
Selections, factors in making, 221-226 
Shade, meaning of, 191 
Shape harmony, 24-48 
Shapes, 
altered by line movement, 39 
harmonious and inharmonious, 24 
Shoes, 272 
Silhouette, 37, 255 
Simplicity, 
factor in decorative quality, 235 
importance of, 141 
in decoration, 1, 11, 154-155 
in dress design, 168-171, 251, 265 
in exterior design, 157 
in interior design, 348, 372, 382 


464 


——— _—" 


Index 





Social expression in furnishings, 328, 
336-341, 360, 406 
Solving an art problem, 221-226 
Spacing, 57-67 
Store arrangements, lines in, 43 
Store display, 
backgrounds, 143-144, 148-150, 154, 
175, 192-194, 210, 211 
balance in, 96-102 
color in, 189, 192-194, 197, 208, 211 
economic factors in, 
color value, 192-194 
line movement, 137-140 
effect of rhythmic repetition, 119 
emphasis in, 171-175, 181 
harmony in, 43, 52 
proportion in, 67 
rhythm in, 137-140 
windows displays, 
color an economic factor, 192-194 
color in, 189, 192-194, 197, 208, 211 
consistency in, 52 
effect of rhythmic repetition, 117- 
119 
grouping in, 67, 173-174 
how to arrange, 137-139 
how to balance, 96-102 
line an economic factor in, 137-140 
planning attractions for, 171-173 
Structural design, 6-20 
Subordination, 142 
Surface patterns, 
emphasis in, 148, 354 
for dress, 81, 148, 260-262 
for walls, 126-128, 148, 154, 159-162, 
354-355, 372, 382-383 
movement in, 126-128 
seale of, 81, 355, 360 


Table setting, 
balance in, 34 
harmony in, 34 
flower arrangements for, 442 
Taste, 
definition of good taste, 1, 3 
expressed in house furnishings, 321 
how molded, 2, 321 
importance of good taste, 1 


Taste, 
in color, 198 
in dress, 251-273 
in interior design, 521-443 
principles for judging, 5 
Tea room, 
color, effect in, 189-190 
dramatic scheme, suited to, 158-159 
Textiles, as substitutes for pictures, 
410, 422 
Texture, 
effect upon color, 199, 213 
in dress, 49, 258, 266, 287 
in exterior design, 156, 199 
in house furnishings, 48-49, 51-52, 
199 
consistent combinations; 48 -49 
scale in, 81 
Tints, 191 


Tone, 188 


Transition, 23, 39 
Trim, 
exterior design, 157 
interior design, 356, 392 
Types of individual, 252 


Underwear, 166 

Unimaginative expression in furnish- 
ings, 342 

Unity, see Harmony. 

Utility and beauty, 18, 141 


Variety within harmony, 21 
Vases, 
selection of, 431-433 
structure and decoration of, 6-15 
Venetian Gothic period, spirit of, 
93 


Walls, see Interior design. 
Window display, see Store display. 
Windows, 

in exterior design, 42, 69-70, 77-78, 

126,157, 

in interior design, 72-73 
Winter bouquets, 443 
Woman’s room, 325 
Woodwork, 356, 392 


465 





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UNIVERSITY OF ILLINOIS-URBANA 





